<P> This sense of flux and change, informs how contemporary public art has evolved . Temporal art in public spaces has been a long established practice . But the presence of public art has become increasingly prevalent and important within our contemporary cities . Temporal public art is so important because of its ability to respond to, reflect, and explore the context which it inhabits . Patricia Phillips describes the "social desire for an art that is contemporary and timely, that responds to and reflects its temporal and circumstantial context ." Public art is an arena for investigation, exploration and articulation of the dense and diverse public landscape . Public art asks its audience to re-imagine, re-experience, re-view and re-live . In the design field, a heavy focus has been turned onto the city as needing to discover new and inspired ways to re-use, re-establish and re-invent the city, in step with an invigorated interest in re-juvinating our cities for a sustainable future . Contemporary design has become obsessed with the need to save the modern city from an industrialised, commercialised, urban pit of a death bed . </P> <P> Contemporary perception of public space has now branched and grown into a multitude of non-traditional sites with a variety of programs in mind . It is for this reason that the way in which design deals with public space as a discipline, has become such a diverse and indefinable field . </P> <P> Iris Aravot puts forward an interesting approach to the urban design process, with the idea of the' narrative - myth' . Aravot argues that "conventional analysis and problem solving methods result in fragmentation...of the authentic experience of a city...(and) something of the liveliness of the city as a singular entity is lost ." The process of developing a narrative - myth in urban design involves analysing and understanding the unique aspects of the local culture based on Cassirer's five distinctive "symbolic forms". They are myth and religion, art, language, history and science; aspects often disregarded by professional practice . Aravot suggests that the narrative - myth "imposes meaning specifically on what is still inexplicable", i.e. the essence of a city . </P> <Ol> <Li> Jump up ^ Petersen, Klaus & Allan C. Hutchinson . "Interpreting Censorship in Canada", University of Toronto Press, 1999 . </Li> <Li> Jump up ^ First Amendment to the United States Constitution </Li> <Li> Jump up ^ "Archived copy" (PDF). Archived from the original (PDF) on 2012 - 04 - 14 . Retrieved 2011 - 10 - 23 . </Li> <Li> Jump up ^ "Illegal to be Homeless". National Coalition for the Homeless. 2004 . </Li> <Li> Jump up ^ Malone, K. "Children, Youth and Sustainable Cities" (PDF). Local Environment. 6 (1). </Li> <Li> Jump up ^ Mitchell, Don . 2003, The Right to the City: Social Justice and the Fight for Public Space . New York: The Guilford Press . </Li> <Li> Jump up ^ Valentine, Gill, 1996, Children should be seen and not heard: the production and transgression of adults' public space . Urban Geography 17, 205 - 220 . </Li> <Li> Jump up ^ Vasagar, Jeevan (11 June 2012). "Privately owned public space: where are they and who owns them?". London: The Guardian . Retrieved 2012 - 09 - 01 . </Li> <Li> Jump up ^ Fries, Sylvia . The Urban Idea in Colonial America . Philadelphia: Temple University Press, 1977 . Chapters 3 and 5 discuss the designs of Pennsylvania and Georgia </Li> <Li> Jump up ^ Wilson, Thomas D . The Oglethorpe Plan . Charlottesville, VA: University of Virginia Press, 2012 . See chapter 3 for design details . </Li> <Li> Jump up ^ Rivers, William J. A Sketch of the History of South Carolina . Charleston: McCarter and Co., 1856 . See pp. 358 - 394 for design details; Carolina thus far has received less attention in the urban design literature than Pennsylvania or Georgia </Li> <Li> Jump up ^ Jurgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society (Cambridge, MA: MIT Press, 1989) </Li> <Li> Jump up ^ Robert D. Leighninger, Jr., 1996,' Cultural Infrastructure: The Legacy of New Deal Public Space', Journal of Architectural Education, Vol. 49, No. 4 (May, 1996), pp. 226 - 236 </Li> <Li> Jump up ^ John Chase, "The Garret, the Boardroom, and the Amusement Park," JAE 47 / 2 (Nov. 1993) </Li> <Li> Jump up ^ Michael Sorkin, "Introduction", and Mike Davis, "Fortress Los Angeles: The Militarization of Urban Space," in Michael Sorkin, ed . Variations on a Theme Park: The New American City and the End of Public Space (New York: Hill and Wang, 1992) </Li> <Li> ^ Jump up to: Margaret Crawford . 1995, "Contesting the Public Realm: Struggles over Public Space in Los Angeles", Journal of Architectural Education, Vol. 49, No. 1 (Sep, 1995) pp. 4 - 9 </Li> <Li> Jump up ^ Nancy Fraser, "Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy," in Bruce Robbins, ed., The Phantom Public Sphere (Minneapolis: University of Minnesota Press, 1993) </Li> <Li> Jump up ^ Patricie C. Philips, 1989, "Temporality and Public Art", Art Journal, Vol. 48, No. 4, Critical Issues in Public Art (Winter, 1989), pp. 331 - 335 </Li> <Li> Jump up ^ Iris Aravot, "Narrative - Myth and Urban Design", Journal of Architectural Education (1984 -), Vol. 49, No. 2 (Nov., 1995), pp. 79 - 91 </Li> <Li> Jump up ^ Ernst Cassirer, An Essay on Man (New York: Bantam, 1970) </Li> </Ol>

Name of five public places in a city