The new town of Milton Keynes was designated in 1967 with a bold, flexible social vision to impose "no fixed conception of how people ought to live." Despite this progressive social vision, and its low density, flexible, green urban design, the town has been consistently represented in British media, political rhetoric and popular culture negatively. as a fundamentally sterile, paternalistic, concrete imposition on the landscape, as a "joke", and even as "Los Angeles in Buckinghamshire". How did these meanings develop at such odds from residents' and planners' experiences? Why have these meanings proved so resilient? Milton Keynes in British Culture traces the representations of Milton Keynes in British national media, political rhetoric and popular culture in detail from 1967 to 1992, demonstrating how the town's founding principles came to be understood as symbolic of the worst excesses of a postwar state planning system which was falling from favour. Combining approaches from urban planning history, cultural history and cultural studies, political economy and heritage studies, the book maps the ways in which Milton Keynes' newness formed an existential challenge to ideals of English landscapes as receptacles of tradition and closed, fixed national identities. Far from being a marginal, "foreign" and atypical town, the book demonstrates how the changing political fortunes of state urban planned spaces were a key site of conflict around ideas of how the British state should function, how its landscapes should look, and who they should be for.

From 1979, the new town of Milton Keynes embraced a new marketing approach which emphasised its capacity to elicit wondrous, uplifting, and desirable bodily sensations. This coincided with the transformation of the town’s central landscape, with Britain’s largest mall, The Shopping Building opening in 1979, followed in 1985 by Britain’s first multiplex cinema, The Point. This new direction in Milton Keynes’ marketing rejected national media narratives of the town’s sterility, while reorienting its administration away from the now-toxic political legacy of Keynesianism and towards consumer capitalism. This presented the Shopping Building, The Point and Milton Keynes as a whole, as containing forces that intensified and proliferated potential sensory experiences which resisted quantification and could only be understood fully through immediate presence. This deliberate non-specificity equated the undifferentiated general ideal of sensation with the liberatory capacities of consumer choice, while concealing the encroaching constraints on human possibility arising from commodification of sensations and public space. While critical accounts identified this new determinism as a damaging force, Milton Keynes was nonetheless able to redefine its public image during the early years of the Thatcher government by association with private consumption and private sensation.

Post-industrial cities often find themselves at a crossroads as to whether to find a new identity or embrace their industrial past. In late 2017, after the closure of major manufacturing plants in the region, the Australian city of Geelong was designated a UNESCO City of Design and embraced a “Clever and Creative” strategy which acknowledged Geelong’s industrial and design past in responding to contemporary technological, demographic, and economic challenges. However, questions remain as to which versions of the past are valued by the local community and how these stories can be shared. To better understand the social value of design and manufacturing heritage in Geelong as well as to get initial feedback on how to interpret this type of heritage through novel immersive extended reality (XR) experiences, the researchers took a community-led approach. This paper reports on the results of the initial online community surveys (N = 55–137) and in-person stakeholder interviews (N = 5) with carefully selected representatives of the local government, education, heritage, tourism, and engineering sectors. The study’s outcome demonstrates the importance of design and manufacturing heritage for the local community’s identity. Moreover, this type of heritage provides a source of inspiration, learning opportunities for future creative problem-solvers, and economic opportunities through tourism. By engaging with the social value of design and manufacturing heritage, this paper argues that more effective and targeted storytelling, game-like applications, and other digital immersive experiences such as extended reality (XR) can be used to better engage with audiences.

This is a conference report on the fourteenth biannual Australasian Urban History/Planning History (AUHPH) conference held between 31 January and 2 February 2018 at the Royal Melbourne Institute of Technology University.

In making research more accessible, Trove exposes crucial disparities and tensions within the historical discipline. Trove enables transcendence, but not erasure, of some material constraints, and in doing so it illustrates the ongoing effacement of embodied labour's centrality to the discipline. We argue that Trove provides a means of engaging with the precarious tools used by precarious bodies to produce historical knowledge.