scholarly journals MENAS VIEŠOSIOSE MIESTO ERDVĖSE: KŪRĖJO, UŽSAKOVO IR PUBLIKOS VERTYBIŲ SANDRAUGOS KLAUSIMAS

2011 ◽  
Vol 35 (1) ◽  
pp. 38-50 ◽  
Author(s):  
Elona Lubytė
Keyword(s):  
Urban Space ◽  
New Left ◽  
Urban Spaces ◽  
Left Wing ◽  
Site Specific ◽  
The Public ◽  
Socially Engaged Art ◽  
Art Object ◽  
World Outlook ◽  
Art Objects

Public urban spaces reflect the values of society (authors, customers and the public). During transition from the soviet state-planned economy towards market-driven relations, or, in other words, moving from the politically-determined way towards a democratic variety of creative expression, a system of centralized state contracts is being substituted by a more liberal way of contracting works of art in public spaces. As a consequence, nowadays a public urban space should turn into a platform for representation of various artistic programs that are based on different world outlook values. However, in so far, relations between the authors of various artistic programs, their contracting authorities, and the public are undergoing rather the stage of “cold war” than democratic tolerance (those who are not with us are against us). While examining the reasons of this phenomenon by research methodologies of social sciences (marketing, management), including PEST, SWOT, case analyses, the paper discusses links of the world outlook values of the author, customer and the public with expression of the contemporary sculpture in public urban spaces (starting with monumental representation and moving towards the site-specific art objects and socially engaged art). To this end, the focus is turned to the reasons of contradictions between values in various contemporary artistic programs and partnership patterns (post-soviet, liberal, new left-wing, learning from Las Vegas, political appropriation). Santrauka Viešosios miesto erdvės atspindi vertybines visuomenės (kūrėjo, užsakovo ir publikos) nuostatas. Pereinant iš sovietmečio planinės ekonomikos į rinkos santykius, nuo politiškai reglamentuotos link demokratinės kūrybinės raiškos įvairovės, centralizuotą valstybinių užsakymų sistemą keičia liberalesnė meno kūrinių viešosiose erdvėse užsakymo sistema. Todėl šiandien viešoji miesto erdvė turėtų tapti skirtingų pasaulėžiūrinių vertybinių meninių programų pateikimo platforma. Tačiau kol kas santykiams tarp skirtingų meninių programų kūrėjų, užsakovų ir publikos būdinga ne demokratinė tolerancija, o šaltojo karo (kas ne su mumis, tas prieš mus, t. y. mūsų priešas) pozicija. Ieškant šio reiškinio priežasčių, pasitelkus socialinių mokslų (vadybos, marketingo) tyrimų metodus (PEST, SSGG, stebėjimą ir atvejų analizę), pranešime aptariamos kūrėjo, užsakovo ir publikos pasaulėžiūrinių vertybių sąsajos su šiuolaikinės skulptūros viešosiose miesto erdvėse raiška (nuo monumentalios reprezentacijos link skirtų konkrečiai vietai meno objektų (site-specific art object) ir socialiai angažuotos (socially engaged) kūrybos). Tuo tikslu sutelkiamas dėmesys į skirtingų nūdienos meninių programų ir partnerystės modelių (jie yra tokie: posovietinis, liberalus, naujosios kairės, mokymosi iš Las Vegaso, politinės apropriacijos) vertybių prieštarų priežastis.

scholarly journals Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces

2018 ◽  
Vol 7 ◽  
pp. 17-26
Author(s):  
Caitlin Frances Bruce
Keyword(s):  
Urban Space ◽  
American Studies ◽  
Urban Spaces ◽  
Art Practice ◽  
Site Specific ◽  
University Of Pittsburgh ◽  
Urban Art ◽  
The Arts ◽  
Collaborative Art ◽  
Post Industrial

In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to reignite our shared sense of possibility and energy.

Contained and abandoned in the “humane” border: Black migrants’ immobility and survival in Moroccan urban space

2020 ◽  
Vol 38 (5) ◽  
pp. 887-904 ◽  
Author(s):  
Leslie Gross-Wyrtzen
Keyword(s):  
Human Rights ◽  
Working Class ◽  
Urban Space ◽  
Migration Policy ◽  
Urban Spaces ◽  
Ethnographic Research ◽  
Border Enforcement ◽  
Site Specific ◽  
Black Migrants

This article examines the effects of Morocco’s new, “humane” migration policy that claimed to center human rights and integration over securitized border enforcement. Drawing on ethnographic research, this paper demonstrates how the new migration policy expanded rather than dismantled the border regime, respatializing it from the edges of Moroccan territory into cities in the interior. Border respatialization was accomplished through abandonment, theorized not as an absence of government but a technique of governance that targets the racialized poor. Focusing on the experiences of migrants living in two urban spaces—an informal migrant settlement and a working-class neighborhood—this paper illustrates how abandonment limits black migrants’ ability to move and transgress the border, and how these effects have site-specific, as well as racial and gendered dimensions. This analysis underscores how humanitarian migration policy may have changed the modality of border violence, but not its substance.

scholarly journals TRAUMA AND NARRATIVE FETISHISM AS THE SOURCE FOR CREATIVITY IN THE URBAN SPACE / TRAUMA IR NARATYVINIS FETIŠIZMAS KAIP KŪRYBINGUMO ŠALTINIS MIESTO ERDVĖJE

2012 ◽  
Vol 4 (2) ◽  
pp. 122-130
Author(s):  
Igor Yankov
Keyword(s):  
Urban Space ◽  
Sigmund Freud ◽  
Urban Spaces ◽  
Street Art ◽  
Traumatic Experience ◽  
Creative Strategy ◽  
Art Objects ◽  
Work Of Mourning

The paper analyzes trauma as the source for creativity in the urban space. There are two strategies to find a way to live with traumatic experience. The first way, according to Sigmund Freud, is “the work of mourning”, which by constant remembering and repeating trauma in the language of tropes and figures allows to integrate discontinuous traumatic experience thus partly expunging trauma. Another strategy for dealing with trauma was described by Eric L. Santner's term “narrative fetishism”. This strategy supposes a refusal or inability to admit trauma substituting mourning for narratives, which seemingly do not have any connection to trauma itself. I can find outcomes of this traumatic creative strategy in urban spaces of contemporary megalopolises. The paper analyzes art objects in Yekaterinburg city, namely, the gangsters’ tombstones and the cathedral that has been used for political and ideological purposes, the street art activity of painter Radya. Santrauka Straipsnyje analizuojama trauma kaip kūrybingumo šaltinis miesto erdvėje. Egzistuoja dvi strategijos rasti būdą gyventi su traumine patirtimi. Pirmasis būdas, remiantis Sigmundu Freudu, tai ,,gedėjimo darbas‘‘, kuris per nuolatinį prisiminimą ir traumos pakartojimą tropų ir figūrų kalboje leidžia papildyti netolygią trauminę patirtį, iš dalies išbraukiant traumą. Kita strategija buvo aprašyta Erico L. Santnerio terminu ,,naratyvinis fetišizmas‘‘. Ši strategija siūlo nepripažinti traumos, gedėjimą pakeičiant tais naratyvais, kurie akivaizdžiai niekaip nesusiję su pačia trauma. Šiuolaikinių megalopolių erdvėse galima rasti kūrybinių strategijų. Straipsnyje analizuojami meno objektai Jekaterinburgo mieste, iš kurių svarbiausi yra nusikaltėlių antkapiai ir katedra, kuri buvo naudojama politiniais ir ideologiniais tikslais, bei tapytojo Radya‘os gatvės menas.

scholarly journals Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community

2020 ◽  
Author(s):  
Elena Malinina ◽  
Keyword(s):  
Contemporary Art ◽  
Urban Space ◽  
21St Century ◽  
Contemporary Culture ◽  
Site Specific ◽  
Early 21St Century ◽  
The Public ◽  
Museum Theatre ◽  
The Public Sphere ◽  
Street Environment

This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

scholarly journals VERNACULAR DESIGN AS VISUAL PRACTICE OF URBAN SPACE ORGANIZATION

2020 ◽  
pp. 5-8
Author(s):  
Y. O. Butsykina
Keyword(s):  
Urban Space ◽  
Collective Identity ◽  
Urban Spaces ◽  
The Public ◽  
Grass Roots ◽  
The Everyday ◽  
Space Organization ◽  
Visual Style ◽  
Vernacular Landscape ◽  
Crucial Characteristic

Article discusses specific status of the vernacular design in the visual style of the modern Ukrainian city, where indigenous dwellers coexist with those who came recently from the country. The vernacular regions in Ukrainian cities are analyzed as complex, eclectic and grass-roots. The vernacular design is understood within the complex cultural environment, where different traditions and cultural identities coexist. The terms "vernacular life", "vernacular landscape" are explicated. The vernacular landscape is interpreted in the context of the everyday human activities brought into the public urban spaces. The crucial characteristic (amateur, brutal, trying to be visible and being invisible, economical, tactical, irrational, anachronistic) and the main principles (constraint, thrift, durability, commonness) of the vernacular design are studied within the interpretive context of urban culture collective identity.

scholarly journals Pop Up Cafe as a Creative Generator in Jakarta

2015 ◽  
Vol 6 (3) ◽  
pp. 343
Author(s):  
Albertus Prawata
Keyword(s):  
Urban Space ◽  
Urban Spaces ◽  
Economic Activities ◽  
The Public ◽  
The People ◽  
The Government ◽  
The Impact ◽  
The City ◽  
Capital Intensive

The government has a strong role to make plans and shape the city. The planning establishment by the government is based on capital-intensive strategic actions, so they can shape the urban spaces according to acertain set of values. These values are made clearly in the patterns of resource consumption. However, they often create a hierarchical gap between the people and the communities. In the city, the economy becomes the basis of how the urban spaces are shaped and created. New economic activities often have the impact in degrading the quality of the spaces. As a result, the city will lose its attractions, and people feel alienated and they become aesthetically unpleasant. The purpose of this paper is to discuss the interaction and appreciation of creative users and the citizens of the city towards the urban spaces, and how they will encourage endless collaboration amongst local citizens to create thoughtful and meaningful designs for the public. The discussion and arguments will be based on some creative activities such as pop up café/store. It has the importance to be a creative generator and become the urban fabric that support the city and be a part of the sustainable cityconcept. The engagement and ideas from the creative activities can be a strong foundation of a good urban space, that have the power to re-shape the city spaces to be more livable. Therefore, it can also bring a new identity and vibrant atmosphere to a certain area as well as to the city.

Is economic inequality a universal evil?

2019 ◽  
pp. 91-106 ◽  
Author(s):  
Rostislav I. Kapeliushnikov
Keyword(s):  
Quantitative Data ◽  
Large Scale ◽  
Economic Inequality ◽  
The State ◽  
Fair Play ◽  
Left Wing ◽  
Ordinary People ◽  
The Public ◽  
Discursive Power ◽  
A Current

Using published estimates of inequality for two countries (Russia and USA) the paper demonstrates that inequality measuring still remains in the state of “statistical cacophony”. Under this condition, it seems at least untimely to pass categorical normative judgments and offer radical political advice for governments. Moreover, the mere practice to draw normative conclusions from quantitative data is ethically invalid since ordinary people (non-intellectuals) tend to evaluate wealth and incomes as admissible or inadmissible not on the basis of their size but basing on whether they were obtained under observance or violations of the rules of “fair play”. The paper concludes that a current large-scale ideological campaign of “struggle against inequality” has been unleashed by left-wing intellectuals in order to strengthen even more their discursive power over the public.

scholarly journals Impact of Different Types of Physical Activity in Green Urban Space on Adult Health and Behaviors: A Systematic Review

2021 ◽  
Vol 11 (1) ◽  
pp. 263-275
Author(s):  
Alessia Grigoletto ◽  
Mario Mauro ◽  
Pasqualino Maietta Latessa ◽  
Vincenzo Iannuzzi ◽  
Davide Gori ◽  
...  
Keyword(s):  
Physical Activity ◽  
Systematic Review ◽  
Urban Space ◽  
Adult Population ◽  
Urban Spaces ◽  
Easy Access ◽  
Free Access ◽  
Adult Health ◽  
Time Restrictions ◽  
Walking Activity

This systematic review aimed to investigate the type of physical activity carried out in green urban spaces by the adult population and to value its impact on the population’s health. Additionally, another purpose was to examine if the presence of outdoor gyms in green urban spaces can promote participation in physical activity among adults. Searches of electronic databases, with no time restrictions and up to June 2020, resulted in 10 studies meeting the inclusion criteria. A quantitative assessment is reported as effect size. Many people practiced walking activity as a workout, which showed improvements in health. Walking is the most popular type of training due to its easy accessibility and it not requiring equipment or special skills. Outdoor fitness equipment has been installed in an increasing number of parks and has become very popular worldwide. Further, outdoor fitness equipment provides free access to fitness training and seems to promote physical activity in healthy adults. However, other studies about outdoor fitness equipment efficiency are needed. People living near to equipped areas are more likely to perform outdoor fitness than those who live further away. The most common training programs performed in green urban spaces included exercises with free and easy access, able to promote physical health and perception.

scholarly journals The northern world of the Anglo-Saxon mappa mundi

2018 ◽  
Vol 47 ◽  
pp. 275-305
Author(s):  
Helen Appleton
Keyword(s):  
Old English ◽  
Urban Space ◽  
Eleventh Century ◽  
Tenth Century ◽  
Urban Spaces ◽  
British Library ◽  
Anglo Saxon ◽  
The Mediterranean

AbstractThe Anglo-Saxon mappa mundi, sometimes known as the Cotton map or Cottoniana, is found on folio 56v of London, British Library, Cotton Tiberius B. v, which dates from the first half of the eleventh century. This unique survivor from the period presents a detailed image of the inhabited world, centred on the Mediterranean. The map’s distinctive cartography, with its emphasis on islands, seas and urban spaces, reflects an Insular, West Saxon geographic imagination. As Evelyn Edson has observed, the mappa mundi appears to be copy of an earlier, larger map. This article argues that the mappa mundi’s focus on urban space, translatio imperii and Scandinavia is reminiscent of the Old English Orosius, and that it originates from a similar milieu. The mappa mundi’s northern perspective, together with its obvious dependence on and emulation of Carolingian cartography, suggest that its lost exemplar originated in the assertive England of the earlier tenth century.

Collaging atmosphere: Exploring the architectural touch of the eye

2021 ◽  
pp. 239980832098655
Author(s):  
Anette Stenslund
Keyword(s):  
Urban Design ◽  
Urban Space ◽  
Urban Spaces ◽  
Scholarly Literature ◽  
Work In Progress ◽  
Constructive Dialogue ◽  
Scant Attention ◽  
Computer Generated Imagery ◽  
Aesthetic Characteristics

In recent decades, research has paid attention to the atmospheric ways computer-generated imagery (CGI) marks the experience of future urban design. What has been addressed in the generic abbreviation CGI has, however, exclusively concerned visualisations that communicate with stakeholders beyond designers and architects. Based on fieldwork within an urban design lab, the paper differentiates among the range of CGI used by urban designers. Focusing on collage, which forms one kind of CGI that has received scant attention in scholarly literature, I demonstrate its key function as an epistemological in-house work-in-progress tool that helps designers to refine their vision and to identify the atmosphere of future urban spaces. Based on New Aesthetics, collaging atmosphere is characterised by a physiognomic approach to urban space that selectively addresses aesthetic characteristics. Hence, the paper tackles a discussion that points towards cautious handling of the communicative scope of collages that can be well complemented by other types of CGI before entering a constructive dialogue with clients.

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