MAPPING VILNIUS AS CREATIVE CITY / VILNIAUS KAIP KŪRYBINIO MIESTO ŽEMĖLAPIO KONTŪRAI

2011 ◽  
Vol 4 (1) ◽  
pp. 89-100 ◽  
Author(s):  
Jūratė Černevičiūtė
Keyword(s):  
Cultural Production ◽  
Social Life ◽  
Urban Economy ◽  
Creative Industries ◽  
Creative City ◽  
Cultural Districts ◽  
The World ◽  
Business Enterprises ◽  
Urban Complex ◽  
The City

Urban development is increasing the ability to develop a distinct and attractive position in the world. Cities are changing their role as the cultural production sites as well as the life style and creativity become the material for the creative industries development. The creative city is understood as an urban complex, where a variety of cultural activities are an integral part of the urban economy and social life. The concept of creative city has not yet been well established: we can point to even three such concepts, highlighting different agency of the creative city – from the creative city-dwellers to the business enterprises of the creative industries. On the basis of the creative city concept, the article analyses Vilnius city, revealing the most important factors, which promote the creativity of the city: the organizations and activities of Arts category; business enterprises and projects of Media category; active creative and civil communities of the city. The activity of the creative communities takes on an expression in the forms of emerging cultural districts in Užupis, Naujamiestis and Pilaitė. The above-mentioned activities of the categories of creative industries are illustrated on the basis of the data, collected under the development of The Map of Vilnius Creative Industries. The article concludes that the weakest activity in Vilnius city is the economic clustering of the business enterprises of creative industries. Santrauka Miestų raida vis labiau priklauso nuo gebėjimo plėtoti aiškią ir patrauklią laikyseną pasaulyje. Miestai tampa kultūros gamybos centrais, o miestiečių gyvensena ir kūrybiškumas – medžiaga kūrybinių industrijų plėtrai. Kūrybinis miestas suprantamas kaip miesto kompleksas, kuriame įvairios kultūrinės veiklos neatsiejamos nuo miesto ekonomikos ir socialinio gyvenimo. Kūrybinio miesto samprata iki šiol nėra nusistovėjusi: galima išskirti net tris tokias sampratas, išryškinančias skirtingus kūrybinio miesto veiksnius – pradedant kūrybingais miestiečiais, baigiant kūrybinių industrijų verslo įmonėmis. Remiantis kūrybinio miesto samprata, straipsnyje analizuojamas Vilnius, išryškinami svarbiausi miesto kūrybingumą skatinantys veiksniai: menų kategorijos organizacijos ir veiklos; medijų kategorijos verslo įmonės ir renginiai; aktyvios miesto kūrybinės ir pilietinės bendruomenės. Kūrybinių bendruomenių aktyvumas konkrečią išraišką įgauna mieste besiformuojančių kultūros kvartaų pavidalu Užupyje, Naujamiestyje ir Pilaitėje. Minėtų kūrybinių industrijų kategorijų veiklos iliustruojamos duomenimis, kurie buvo surinkti rengiant Vilniaus kūrybinių industrijų žemėlapį. Straipsnyje daroma išvada, kad silpniausiai mieste vyksta ekonominė kūrybinių industrijų įmoni ų klasterizacija.

Lyon – UNESCO’s Creative City of Gastronomy?

2016 ◽  
Vol 4 (2) ◽  
pp. 126-132 ◽  
Author(s):  
Cecilia Avelino Barbosa
Keyword(s):  
Cultural Industries ◽  
Brand Positioning ◽  
City Branding ◽  
Structured Interviews ◽  
Creative Cities ◽  
Marketing Program ◽  
Creative City ◽  
Territorial Marketing ◽  
The World ◽  
The City

The fast urbanization in many regions of the world has generated a high competition between cities. In the race for investments and for international presence, some cities have increasingly resorting to the territorial marketing techniques like city branding. One of the strategies of recent years has been to use of creativity and / or labeling of creative city for the promotion of its destination. This phenomenon raises a question whether the city branding programs have worked in accordance with the cultural industries of the territory or if such labels influence the thought of tourists and locals. This paper begins by placing a consideration of the UNESCO Creative Cities Network (UCCN) and the strategies of the Territorial Marketing Program of the city of Lyon in France, Only Lyon. It also raises the question the perception of the target public to each of the current actions through semi-structured interviews which were applied between May and August 2015. Finally, I will try to open a discussion the brand positioning adopted by the city of Lyon

Counting on Carrington Road: Street Numbers as Metonyms of the Urban

2018 ◽  
Vol 17 (4) ◽  
pp. 433-450 ◽  
Author(s):  
Alexandra Crosby ◽  
Kirsten Seale
Keyword(s):  
Visual Presentation ◽  
Creative Industries ◽  
Creative Economy ◽  
Top Down ◽  
Fine Grained ◽  
Creative City ◽  
Starting Point ◽  
Urban Futures ◽  
Post Industrial ◽  
The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

The City in China

2019 ◽  
Keyword(s):  
Social Life ◽  
Urban Sociology ◽  
Chicago School ◽  
Urban China ◽  
Urban Research ◽  
Starting Point ◽  
The World ◽  
Chinese School ◽  
To Come ◽  
The City

In 2015, one hundred years passed since Robert Park penned his seminal article “The City: Suggestions for the investigation of human behaviour in the city environment” in the American Journal of Sociology. It provided an agenda for the Chicago school of urban sociology, which came to shape urban research for decades to come. Since 1915 much has changed, both in the urban world itself and in the urban research that reflects on those transformations. In today’s world of global cities, cities around the world have undergone dramatic development, and nowhere as dramatic as in China. In the world of urban research, Park’s human ecology approach has lost the appeal that it once had. Against this background, in this book specialists on urban China reflect on the relevance of Park’s article on “The City” – for cities in China, for urban research, and for questions about studying the social life of the city. The aim of the book is to take Park’s article as a point of departure for critical reflection on both the research on urban China and on the issues that Chinese cities face. The book offers readers a timely respite from the eruption of urban China research, to reflect on what the city in China contributes to urban studies more generally. Despite the shared starting point, the contributors represent a range of perspectives that would disrupt any notion of monolithic “Chinese school” while also pointing the way towards recurrent challenges, topics and approaches relevant for a contemporary urbanism.

Lovechild: Stieglitz, O'Keeffe, and the Birth of American Modernism

Prospects ◽  
2005 ◽  
Vol 30 ◽  
pp. 395-432
Author(s):  
Camara Dia Holloway
Keyword(s):  
Cultural Production ◽  
American Art ◽  
American Modernism ◽  
Alfred Stieglitz ◽  
Spiritual Nature ◽  
The World ◽  
Georgia O'keeffe ◽  
Good Order ◽  
The City ◽  
The Ideal

During the 1910s, the photographer Alfred Stieglitz developed the ambition to create a modern American art and gathered a circle of artists and writers around him who were committed to his spiritual, nature-centered aesthetic. This group of American Moderns is now known as the second Stieglitz circle. A review of the cultural production of this group reveals that concepts of race played a central role in their construction of American modernism. This is especially evident in the discourse about artist Georgia O'Keeffe, who served as the symbol of the aspirations of this circle. Writing under the pseudonym, Search-Light, the writer Waldo Frank made the following observation about the work of O'Keeffe:Arabesques of branch, form-fugues of fruit and leaf, aspirant trees, shouting skyscrapers of the city — she resolves them all into a sort of whiteness: she soothes the delirious colors of the world into a peaceful whiteness.As indicated by the title of Frank's essay, “Georgia O'Keeffe: White Paint and Good Order,” the circle felt that O'Keeffe's arrangement of colors, the literal pigments that she used to make her paintings, achieved a harmonious pattern that represented the ideal world they imagined. The use of whiteness to describe their desired configuration of the world was even more apparent in an assessment of O'Keeffe's paintings by cultural critic Paul Rosenfeld:A white radiance is in all the bright paint felt by this girl… O'Keeffe makes us feel dazzling white in her shrillest scarlet and her heavenliest blue … This art is, a little, a prayer that the indifferent and envious world, always prepared to regard self-respect as an insult to its own frustrate and crushed emotions, may be kept from defiling and wrecking the white glowing place.

‘Hipster Capitalism’ in the Age of Austerity? Polanyi Meets Bourdieu’s New Petite Bourgeoisie

2017 ◽  
Vol 11 (1) ◽  
pp. 60-76 ◽  
Author(s):  
Michael Scott
Keyword(s):  
Cultural Production ◽  
Creative Industries ◽  
Economic Capital ◽  
Economic Returns ◽  
Material Resources ◽  
The World ◽  
Career Strategies ◽  
Petite Bourgeoisie ◽  
New Research ◽  
Iconic Figure

This article dialogues Polanyi and Bourdieu to propose a new research agenda within the sociology of cultural production. Extending recent literature on hipsters, this iconic figure is shifted from the world of consumption to the world of production via Bourdieu’s conceptualisation of the new petite bourgeoisie. Using secondary empirical material of cultural micro-enterprises, two ideal-typical career strategies are sketched: cultural-capital oriented seeking to secure positions within established creative industries, and economic-capital orientated stylising ‘old’ petite bourgeoisie occupations to access economic returns. However, within the context of ongoing austerity policies, Bourdieu’s economic capital does not fully account for the variegated forms of material resources these nascent enterprises draw on. Bringing Polanyi’s modes of economic integration – reciprocity, redistribution and exchange – to Bourdieu opens new questions on how hipster capitalism is the practice of intermediating between these ‘backstage’ material modes and the ‘frontstage’ selling of style.

scholarly journals Jiwa Entrepreneurship Penggerak Desain

2018 ◽  
Vol 4 (02) ◽  
pp. 239-251
Author(s):  
Pujiyanto Pujiyanto
Keyword(s):  
Foreign Exchange ◽  
Social Life ◽  
Creative Industries ◽  
Creative Industry ◽  
Creative Work ◽  
Free Markets ◽  
The Real ◽  
Creative City ◽  
Real Work ◽  
The Government

AbstrakAkhir-akhir ini industri kreatif berkembang seiring arus globalisasi dan pasar bebas. Kondisi ini menggairahkan industri-industri kreatif baru bermunculan yang dapat menjadi andalan suatu daerah bahkan menjadikan predikat kota kreatif. Industri kreatif yang berkembang di bidang desain tiap kota dapat meningkatkan citra daerahnya, meningkatkan devisa, dan mengatasi pengangguran. Ada empat penggerak kreatif yaitu akademisi, pemerintah, kreator, dan pengusaha yang menjadikan industri kreatif semakin subur. Berbagai cara telah dilakukan oleh empat unsur tersebut hingga suatu kota menjadi terkenal, maka perlu dikaji melalui metode telaah kepustakaan dan pengamatan dengan memperhatikan teori dari Williamson tentang jenis kewirausahaan dan Philip Plus tentang tahapan dalam berkanya kreatif. Hasil diperoleh bahwa akademisi mengarah ke jiwa wirausaha yang inovasi, pemerintah mengarah ke wirausaha yang meniru, kreator mengarah ke wirausaha yang hati-hati, dan pengusaha mengarah ke wirausaha yang pemalas. Untuk memperkuat pembahasan maka diperkuat oleh hasil karya nyata kewirausahaan sebagai inspirasi orang lain dan bermanfaat dalam kehidupan masyarakat. Kata Kunci: kewirausahaan, industri kreatif, kreator  AbstractLately, the creative industry has evolved by alongside the flow of globalization and free markets. This condition stimulates new creative industries emerging that can become a mainstay of an area even make the creative city becomes a predicate. Creative industries that develop in the design field every city can improve the image of the region, increase the number of foreign exchange, and tackling unemployment. There are four creative movers: academics, government, creators, and entrepreneurs that make the creative industry particularly fecund. Various ways have been done by the four elements until a city became famous, it needs to be studied through the method of literature and observation by taking into Williamson's theory of the type of entrepreneurship and Philip Plus’s theory of the stages in the creative work. The results obtained that academic has been leading to innovating entrepreneurship, the government has been leading to imitative entrepreneurship, creators have been leading to fabian entrepreneurship, and entrepreneurs have been leading to the drone entrepreneurship. To strengthen the discussion then reinforced by the real work of entrepreneurship as the inspiration of the others and useful in social life. Keywords: entrepreneurship, creative industry, creators

scholarly journals PARIWISATA KREATIF BERBASIS INDUSTRI BATIK SEBAGAI UPAYA PENGEMBANGAN EKONOMI LOKAL KOTA PEKALONGAN

2016 ◽  
Vol 18 (1) ◽  
pp. 11
Author(s):  
L Latifah ◽  
Maya Damayanti
Keyword(s):  
Economic Development ◽  
Local Economic Development ◽  
Creative Industries ◽  
Tourist Destination ◽  
Business Association ◽  
Creative City ◽  
Art And Culture ◽  
The Impact ◽  
The City

<div><p class="AbstractEnglish">Currently, Pekalongan City is known as the city of batik. The recognition is both at national and international levels whereas Pekalongan has been acknowledged as a world creative city based on the art and culture of batik. Batik is an essential commodity in Indonesian creative industries and has been the major commodity of Pekalongan. Batik industry is also capable of creating an inter-business association like the <em>canting</em> making business and fabric dyes business. As a city of batik, Pekalongan is prepared as a tourist destination through the availability of Batik Museum and two centers of batik craftsmen. The attraction has been increasing because tourists do not only see the process but can practice on how to make batik along with the batik craftsmen and interact with the related tools and materials, and this is known as creative tourism. The impact of the creative tourism can become one of the efforts to the local economic development of Pekalongan because it has been able to make linkages between sectors in tourism and batik industry.</p></div>

scholarly journals THE MODEL OF PATIENT SATISFACTION AND TRUST: A STUDY AT BPJS PATIENT

2021 ◽  
Vol 2 (3) ◽  
pp. 513-526
Author(s):  
Peni Cahyati
Keyword(s):  
Patient Satisfaction ◽  
Health Center ◽  
Random Sampling ◽  
Social Life ◽  
Research Method ◽  
Descriptive Analysis ◽  
Equation Model ◽  
Physical And Mental Health ◽  
The World ◽  
The City

Health is a major requirement for every resident living in this world, and health development essentially concerns both physical and mental health. The state of health of a person will be influential on the aspects of social life is economic, and the continuity of the life of a nation and a country anywhere in the world, both in countries that have developed and in developing countries such as Indonesia as well as health is a right and an investment for all citizens of Indonesia. The research method uses descriptive analysis and verification analysis. By using a combination of analytical methods can be obtained by generalizing that is comprehensive. Samples taken as many as 100 patients BPJS health center Purbaratu Tasikmalaya City and sampling was done randomly or random sampling. Data analysis used is SEM (Stucture Equation Model). Based on the results of the research can be known that there are degrees of contribution of the variable provision of a service to trust patients through the patient satisfaction. The better the delivery of services provided by the health center Purbaratu Tasikmalaya City the better satisfaction of the patients received that will ultimately have an impact on the increased confidence of the patient to the health center Purbaratu the City of Tasikmalaya.

scholarly journals Crafting place: Women’s everyday creativity in placemaking processes

2017 ◽  
Vol 22 (3) ◽  
pp. 362-377 ◽  
Author(s):  
Louise C Platt
Keyword(s):  
Sense Of Self ◽  
Creative Industries ◽  
City Centre ◽  
Structured Interviews ◽  
Urban Experience ◽  
Creative City ◽  
Everyday Creativity ◽  
Attachment To Place ◽  
The City

Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited.

scholarly journals Transforming Narratives: Reaction, Context and the Emerging (IM)-Possibilities of Social Discourse on Art in Cluj-Napoca

2019 ◽  
Vol 64 (2) ◽  
pp. 63-84
Author(s):  
Miki Braniște
Keyword(s):  
Operation Mode ◽  
Global Scale ◽  
Development Project ◽  
Creative Industries ◽  
Social Discourse ◽  
Creative City ◽  
New Development ◽  
International Standing ◽  
Symbolic Production ◽  
The City

Abstract The aim of this article is to comprehend the register of existence and the developing of social art practices and discourses in Cluj-Napoca, citing the example of the contemporary art space The Paintbrush Factory, established in 2009. Analysing the operation mode/modus operandi of artists, curators, and cultural agents of Cluj-Napoca, I study the creative pattern based on reaction as a response to the undergoing changes within the socio-political environment of the city as well as those on a global scale. The wider expansion of the urban regeneration theory, that attributes an economic growth factor to culture (based on the existence of creative industries), persuades the local authorities to create a new narrative of a Cluj-Napoca based on the image of a creative city. The Paintbrush Factory is precisely the success story – with a grassroots background, and international standing – that Cluj-Napoca Town Hall needed to legitimise its new development project that sought to put the city on Europe’s map. This ambition of the authorities is reflected in the application for the title of European Cultural Capital 2021. The story of the Paintbrush Factory mirrors this precise transformation of the city, which sees the industrial production being replaced by symbolic production. During this process factories are literally replaced by IT firms and adjacent services, while The Paintbrush Factory that had benefited from a long-term rental of a factory space is eventually displaced in this massive gentrification course of the city.

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