scholarly journals A cidade de Salvador-BA no cinema contemporâneo

GeoTextos ◽  
2017 ◽  
Vol 13 (2) ◽  
Author(s):  
Tiago De Almeida Moreira ◽  
Dante Flávio Da Costa Reis Junior

O artigo trata de representações sobre a cidade de Salvador-BA no cinema brasileiro contemporâneo, com foco no espaço público da cidade, seus aspectos principais bem como suas contradições socioespaciais. O inventário de vinte e cinco filmes apresentado contribui para a linha de pesquisa das Geografias de Cinema, em estruturação no Brasil e no mundo, pois trata de análise sobre espaço público em filmes brasileiros contemporâneos, tema ainda pouco explorado no Brasil. Abstract THE CITY OF SALVADOR-BA IN THE CONTEMPORARY CINEMA The paper deals with representations about the city of Salvador - BA in contemporary Brazilian cinema, focusing on the public space of the city, its main aspects and socio - spatial contradictions. The inventory of twenty-five films presented contributes to the line of research of the Geographies of Cinema, in structuring in Brazil and in the world, because it deals with the analysis of public space in contemporary Brazilian films, a topic still little explored in Brazil.

Author(s):  
Minh-Tung Tran ◽  
◽  
Tien-Hau Phan ◽  
Ngoc-Huyen Chu ◽  
◽  
...  

Public spaces are designed and managed in many different ways. In Hanoi, after the Doi moi policy in 1986, the transfer of the public spaces creation at the neighborhood-level to the private sector has prospered na-ture of public and added a large amount of public space for the city, directly impacting on citizen's daily life, creating a new trend, new concept of public spaces. This article looks forward to understanding the public spaces-making and operating in KDTMs (Khu Do Thi Moi - new urban areas) in Hanoi to answer the question of whether ‘socialization’/privatization of these public spaces will put an end to the urban public or the new means of public-making trend. Based on the comparison and literature review of studies in the world on public spaces privatization with domestic studies to see the differences in the Vietnamese context leading to differences in definitions and roles and the concept of public spaces in KDTMs of Hanoi. Through adducing and analyzing practical cases, the article also mentions the trends, the issues, the ways and the technologies of public-making and public-spaces-making in KDTMs of Hanoi. Win/loss and the relationship of the three most important influential actors in this process (municipality, KDTM owners, inhabitants/citizens) is also considered to reconceptualize the public spaces of KDTMs in Hanoi.


2018 ◽  
Vol 25 (4) ◽  
pp. 147
Author(s):  
Renata Sieiro Fernandes ◽  
Antonio Carlos Miranda ◽  
Irene Quintáns

Parte-se da ideia da cidade como campo da educação não formal. Dentre os usos e ocupações atuais do espaço público por contestação, manifestação, lazer, sob orientações políticas, étnicas, artísticas, ambientais, lúdicas, pelo público adulto, têm surgido experiências que envolvem as crianças, como sujeitos-cidadãos ativos e participativos na cidade, o que vem a constituir a experiência da cidade. O objetivo é apresentar e discutir aspectos educativos no campo da educação não formal que são desenvolvidos por meio de ações sociais e comunitárias, relacionando com o conceito de currículo e de currículo oculto no espaço da cidade. Metodologicamente, é um estudo exploratório, de abordagem qualitativa no campo da Educação, do tipo bibliográfico e documental e descritivo e analítico quanto aos seus objetivos. Parte do levantamento de práticas nacionais de educação não formal na cidade envolvendo crianças, tendo sido selecionados 5 projetos dentro de duas categorias denominadas projetos de revitalização do espaço público e projetos de escuta das crianças, para discussão. O referencial teórico baseia-se em Trilla, Sennett, Lefebvre e outros. Os dados mostram que, na ocupação dos espaços públicos, o currículo deixa de ser prescrito para ser construído pelas comunidades, na promoção das oportunidades de acesso aos bens sociais e culturais nas três dimensões em que a cidade educa: aprender da cidade, aprender na cidade, aprender a cidade. As crianças que participam dos projetos são entendidas como sujeitos sociais e públicos e que produzem cultura (não apenas a reiteram), promovendo processos de criação, reinvenção e modificação do entorno, do que é comum, das comunidades e da sociedade. Conclui-se que essa participação e as ações empreendidas dão margem a novas possibilidades de atuação no mundo, tirando os sujeitos das tiranias da intimidade.Palavras-chave: Educação não formal. Cidade educativa. Educação e cultura. Currículo.THE CITY AS A FIELD OF NON-FORMAL EDUCATION AND THE EXPERIENCES OF CHILDREN Abstract This article starts with the idea of the city as a place of non-formal education. Among the current uses and occupations of the public space for contestation, demonstration, leisure, under political, ethnic, artistic, environmental and playful orientations by the adult public, experiences have arisen that involve children as active and participative citizen subjects in the city. This is what constitutes the experience of the city. The objective is to present and discuss educational aspects in the field of non-formal education that are developed through social and community actions, relating to the concept of curriculum and hidden curriculum in the universe of the city. Methodologically, it is an exploratory study, qualitative approach in the field of Education, bibliographic and documentary type and descriptive and analytical about its objectives. Part of the survey of national practices of non-formal education in the city involving children, 5 projects were selected within two categories called projects of revitalization of public space and projects of listening to children, for discussion. The theoretical framework is based on Trilla, Sennett, Lefebvre and others. The data show that, in the occupation of public spaces, the curriculum is no longer prescribed to be built by the communities, in promoting opportunities for access to social and cultural goods in the three dimensions in which the city educates: learning from the city, learning in the city , learn the city. The children who participate in the projects are understood as social and public subjects and that produce culture (not only reiterate it), promoting processes of creation, reinvention and modification of the environment, of what is common, of communities and of society. It is concluded that this participation and the actions undertaken give rise to new possibilities of action in the world, taking the subjects from the tyrannies of intimacy.Keywords: Non-formal education. Educational city. Education and culture. Curriculum.LA CIUDAD COMO CAMPO DE LA EDUCACIÓN NO FORMAL Y LAS EXPERIENCIAS DE LOS NIÑOSResumenSe parte de la idea de la ciudad como lugar de educación no formal. En el caso de los niños, como sujetos ciudadanos activos y participativos en la ciudad, entre los usos y ocupaciones actuales del espacio público por contestación, manifestación, ocio, bajo orientaciones políticas, étnicas, artísticas, ambientales, lúdicas, por el público adulto, han surgido experiencias que involucran a los niños, lo que viene a constituir la experiencia de la ciudad. El objetivo es presentar y discutir aspectos educativos en el campo de la educación no formales que se desarrollan a través de acciones sociales y comunitarias, relacionándose con el concepto de currículo y de currículo oculto en el universo de la ciudad. Metodológicamente, es un estudio exploratorio, de abordaje cualitativo en el campo de la Educación, del tipo bibliográfico y documental y descriptivo y analítico en cuanto a sus objetivos. Parte del levantamiento de prácticas nacionales de educación no formal en la ciudad que involucra a niños, se seleccionaron 5 proyectos dentro de dos categorías denominadas proyectos de revitalización del espacio público y proyectos de escucha de los niños, para discusión. El referencial teórico se basa en Trilla, Sennett, Lefebvre y otros. Los datos muestran que, en la ocupación de los espacios públicos, el currículo deja de ser prescrito para ser construido por las comunidades, en la promoción de las oportunidades de acceso a los bienes sociales y culturales en las tres dimensiones en que la ciudad educa: aprender de la ciudad, aprender en la ciudad , aprender la ciudad. Los niños que participan en los proyectos son entendidos como sujetos sociales y públicos y que producen cultura (no sólo la reiteran), promoviendo procesos de creación, reinvención y modificación del entorno, de lo que es común, de las comunidades y de la sociedad. Se concluye que esa participación y las acciones emprendidas dan lugar a nuevas posibilidades de actuación en el mundo, sacando a los sujetos de las tiranías de la intimidad.Palabras clave: Educación no formal. Ciudad educativa. Educación y cultura. Currículo.


2020 ◽  
Vol 8 ◽  
pp. 171-178
Author(s):  
Diego Illescas Reinoso ◽  
Maribel Acosta Damas

This ethnographic research will allow us to enter the Hip Hop movement in Cuenca from a social perspective. Its characteristics, identities, artistic and cultural expressions will be known through its elements. Their needs will be made visible as part of the urban cultures of Cuenca, in order to understand how they influence society, whether or not they are excluded, whether or not they enjoy privileges as subjects of law. In this qualitative study, the ethnography technique is applied, whose main objective is to learn about the history of hip hop in the city, its beginnings, the pioneers of the genre; For this we will contextualize this group in the world and we will know the elements that compose it such as: Graffiti, Rap, Break Dance and Turntablism, also called DJing. This study also tries to examine the communication processes and the participation of the hip hop movement in the public space in which decisions are made on matters of interest and how the forms of participation in the construction of public policies are distinguished. Terms such as urban cultures, youth cultures, counterculture and public space are defined to classify hip hop within them, showing how the identity of young people in this genre is constructed.  


Author(s):  
Samuel Llano

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.


Author(s):  
Samuel Llano

This chapter presents an account of the San Bernardino band as the public facade of that workhouse. The image of children who had been picked up from the streets, disciplined, and taught to play an instrument as they marched across the city in uniform helped broadcast the message that the municipal institutions of social aid were contributing to the regeneration of society. This image contrasted with the regime of discipline and punishment inside the workhouse and thus helped to legitimize the workhouse’s public image. The privatization of social aid from the 1850s meant that the San Bernardino band engaged with a growing range of institutions and social groups and carried out an equally broad range of social services. It was thus able to serve as the extension through which Madrid’s authorities could gain greater intimacy with certain population sectors, particularly with the working classes.


2021 ◽  
Vol 13 (8) ◽  
pp. 4577
Author(s):  
Carmela Cucuzzella ◽  
Morteza Hazbei ◽  
Sherif Goubran

This paper explores how design in the public realm can integrate city data to help disseminate the information embedded within it and provide urban opportunities for knowledge exchange. The hypothesis is that such art and design practices in public spaces, as places of knowledge exchange, may enable more sustainable communities and cities through the visualization of data. To achieve this, we developed a methodology to compare various design approaches for integrating three main elements in public-space design projects: city data, specific issues of sustainability, and varying methods for activating the data. To test this methodology, we applied it to a pedogeological project where students were required to render city data visible. We analyze the proposals presented by the young designers to understand their approaches to design, data, and education. We study how they “educate” and “dialogue” with the community about sustainable issues. Specifically, the research attempts to answer the following questions: (1) How can we use data in the design of public spaces as a means for sustainability knowledge exchange in the city? (2) How can community-based design contribute to innovative data collection and dissemination for advancing sustainability in the city? (3) What are the overlaps between the projects’ intended impacts and the 17 United Nations Sustainable Development Goals (SDGs)? Our findings suggest that there is a need for such creative practices, as they make information available to the community, using unconventional methods. Furthermore, more research is needed to better understand the short- and long-term outcomes of these works in the public realm.


Slavic Review ◽  
2017 ◽  
Vol 76 (4) ◽  
pp. 907-930
Author(s):  
Igor Fedyukin

This article uses the materials of the Drezdensha affair, a large-scale investigation of “indecency” in St. Petersburg in 1750, to explore unofficial sociability among the Imperial elite, and to map out the institutional, social, and economic dimensions of the post-Petrine “sexual underworld.” Sociability and, ultimately, the public sphere in eighteenth century Russia are usually associated with loftier practices, with joining the ranks of the reading public, reflecting on the public good, and generally, becoming more civil and polite. Yet, it is the privately-run, commercially-oriented, and sexually-charged “parties” at the focus of this article that arguably served as a “training ground” for developing the habits of sociability. The world of these “parties” provides a missing link between the debauchery and carousing of Peter I's era and the more polite formats of associational life in the late eighteenth century, as well as the historical context for reflections on morality, sexual licentiousness, foppery, and the excesses of “westernization.”


Author(s):  
Jonathan Stutz

AbstractWith the present paper I would like to discuss a particular form of procession which we may term mocking parades, a collective ritual aimed at ridiculing cultic objects from competing religious communities. The cases presented here are contextualized within incidents of pagan/Christian violence in Alexandria between the 4th and 5th centuries, entailing in one case the destruction of the Serapeum and in another the pillaging of the Isis shrine at Menouthis on the outskirts of Alexandria. As the literary accounts on these events suggest, such collective forms of mockery played an important role in the context of mob violence in general and of violence against sacred objects in particular. However, while historiographical and hagiographical sources from the period suggest that pagan statues underwent systematic destruction and mutilation, we can infer from the archaeological evidence a vast range of uses and re-adaptation of pagan statuary in the urban space, assuming among other functions that of decorating public spaces. I would like to build on the thesis that the parading of sacred images played a prominent role in the discourse on the value of pagan statuary in the public space. On the one hand, the statues carried through the streets became themselves objects of mockery and violence, involving the population of the city in a collective ritual of exorcism. On the other hand, the images paraded in the mocking parades could also become a means through which the urban space could become subject to new interpretations. Entering in visual contact with the still visible vestiges of the pagan past, with the temples and the statuary of the city, the “image of the city” became affected itself by the images paraded through the streets, as though to remind the inhabitants that the still-visible elements of Alexandria’s pagan topography now stood as defeated witnesses to Christianity’s victory.


2018 ◽  
Vol 33 (3) ◽  
pp. 444-472 ◽  
Author(s):  
Perry Maxfield Waldman Sherouse

In recent years, cars have steadily colonized the sidewalks in downtown Tbilisi. By driving and parking on sidewalks, vehicles have reshaped public space and placed pedestrian life at risk. A variety of social actors coordinate sidewalk affairs in the city, including the local government, a private company called CT Park, and a fleet of self-appointed st’aianshik’ebi (parking attendants) who direct drivers into parking spots for spare change. Pedestrian activists have challenged the automotive conquest of footpaths in innovative ways, including art installations, social media protests, and the fashioning of ad hoc physical barriers. By safeguarding sidewalks against cars, activists assert ideals for public space that are predicated on sharp boundaries between sidewalk and street, pedestrian and machine, citizen and commodity. Politicians and activists alike connect the sharpness of such boundaries to an imagined Europe. Georgia’s parking culture thus reflects not only local configurations of power among the many interests clamoring for the space of the sidewalk, but also global hierarchies of value that form meaningful distinctions and aspirational horizons in debates over urban public space. Against the dismal frictions of an expanding car system, social actors mobilize the idioms of freedom and shame to reinterpret and repartition the public/private distinction.


2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.


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