In this context of understanding one of the major considerations is the dichotomy between art and science. Whereas science functions to question existing paradigms in a generally progressive way, aesthetic practice “begins answer, by reinventing itself, by building upon a past principle and ethical relationship” (Mockbee, pg. 2). When one considers this approach in terms of activist practice it’s clear that the parallel is that social or community change can occur through the complete re-imagination of the status quo. One recommended example of this perspective is in considered in rural Alabama, where theorist Mockbee argues that a harmonious architecture that brings together both disenfranchised and wealthy must be implemented.
In addition to the above-considered abstract intents of activist practice, there are a number of clear strategic examples that have emerged. From an overarching perspective, it’s noted that many semblances of, “communities in the process of creating and sustaining their cultural identities by designing and often rebuilding their own world” (Ward, pg. 56). In this context of understanding, it’s seen how the traditional artistic means of re-imagination have emerged and been implemented in communities that previously experienced significant blight and hardship. In terms of specific case examples, it’s noted that the Pratt Institute Center for Community and Environmental Development (PICCED) is one such emergence of strong activist architecture.
When considering the weaknesses of activist practice, it’s clear that recent rejections of activist forms of architecture represent a significant concern. In this context of understanding, theorists have referred to what is known as the post-political concern. In characterizing this post-political turn it’s been noted that, “Not only have American architectural