Dissertations / Theses on the topic 'Creative cities'

This dissertation is a study of cities. It is a study that aims to define which are the factors that are necessary to make a city attractive, both for tourists and residences. It is a study about creativity, meaning the capacity of people of conceiving new ideas and create something new. It is a study about innovation, a fundamental factor for a city that wants to grow in the future. It is a study about people, which are considered the heart of a place. Finally, it is a study about brand and how this concept can be applied to a product called city. The objective of this work is in fact that of putting together two topics that are intertwined: creative cities and city branding.

Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.
Creative City policies have long been portrayed as the new packaging for neoliberal policies. While being widely criticised, the concepts of creative cities and creative class continue to travel around the world in the domain of policy making.That is why some researchers (Pratt, 2011, Ratiu, 2013, Leslie and Cantugal, 2012, Beaumont and Yildiz, 2017) have flagged up that there are other possibilities to conceive a creative city. The dimensions of Justice identified by S. Fainstein (2019), democracy, equality, diversity are at the core of some artists works. While placing my research in the frame of the urban planning literature on the creative city as my hypothesis show, I propose a slight displacement of focus. The specific contribution of my work is to make the link with arts theory and to bring in the debate an analysis of the new conceptions artists have developed of their role in the city, as regards to the city making, in theory and in practice. The theoretical background is provided by Jacques Rancière (2008), who has proposed a new conception of aesthetics. The specificity of art, aesthetics, is that it proposes a new “distribution of the sensible”. The thesis analyses three case studies of participative theatre in Saint-Denis, with the view to determine what the actual input of the artist in the making of the city and how this is relevant for the creation of an alternative creative city model. The three hypothesis of the work are that : 1. More-than-capitalist creative cities visions may already exist (Leslie and Cantugal, 2012) and they may be influenced by the political orientation of the carrier of the visions. (Garcia, 2013). This visions may take into account issues of inequalities (Jakob, 2011) and redistribution (Pratt, 2011). 2. These visions may differ between different stakeholders. There may be an interplay of these different visions on a territory. One needs to construct a situated and contextualised (Pratt, 2011; Prince, 2010) understanding of the way creative cities visions of different stakeholders play in a given location. 3. Artists may play an active role in building an alternative vision and implementation of the creative city, Sharp and al. (2005). A specific focus on the way art works are read by the audience and to the process of making of the art work helps understand its actual impact on issues of social justice, such as equality, democracy and diversity (Fainstein, 2010). The choice of the location has been motivated by its characteristics of being a poor traditionnally communist subburb of Paris, now flagged up as Territory of Culture and Creation in Greater Paris Metropolis. The thesis analyses 3 participative theatre projects in this territory : 1/‘The Football pitch, the player and the consultant’. It is an urban planning consultation participatory art project, commissioned by the local authority, with a duration of two years, co-managed by a theatre collective and an innovative urban planning consultancy, which aimed at stakeholders’ voices to be heard in a different way, using the resources of sports and theatre. 2/ Montjoie! Saint-Denis! by Hoc Momento - An in-situ theatre project commissioned by an independent art institution as regards to the future of a brownfield and its surrounding neighbourhood, led by researchers-artists. 3/ The Ephemeral Troup: a participative theatre project with young people, partly from disadvantaged background and from the area and led by a state financed theatre, the Théâtre Gérard Philippe (TGP) What this PhD brings to the debate on creative city, is the knowledge that it is not because art does not have direct economic impact, nor easily quantifiable social impact, that its specific input should be disregarded. By analysing the details of art projects, one can reveal the many ways artists use creativity to change the city. A new conception of just creative city should aim at encapsulating these types of contribution.

A tese de doutoramento apresentada ao longo das páginas seguintes analisa como a transformação da base económica da cidade de Barcelona teve um impacto transformador na sua configuração física e, por conseguinte, do seu espaço público. Este fenómeno encontra-se vinculado a processos de Regeneração Urbana, comuns a dinâmicas ocorrentes noutras cidades. Consideramos importante a análise destes processos, ao permitir-nos relacionar as premissas económicas e políticas com os resultados sobre o território. Para além deste interesse geral, o caso de Barcelona possui características especificas que a fazem sobressair com relação às operações conduzidas noutras cidades, merecendo assim o empenho desta investigação. Assumindo a caracterização de Barcelona enquanto uma cidade criativa, concentramo-nos no processo de desindustrialização e da posterior re­industrializaçào do bairro do Poblenou através do projeto 22@,noqualseverificaa passagem das antigas indústrias para as indústrias vinculadas ao conhecimento, onde a cultura ocupa um lugar preponderante. Utilizámos uma metodologia inovadora, consistindo na aplicação de uma análise multi-escalar, no espaço e no tempo, e incidindo sobre o âmbito das políticas económicas e do terntório no Poblenou. De forma a contextualizar a nossa análise, examinámos primeiramente a evolução geral das políticas culturais nas cidades, de forma a articularmos o conceito de "creative cities" com os processos de Regeneração Urbana. Em seguida, observamos o vínculo entre a evolução dos usos com o território físico do Poblenou, assim como o avanço das políticas culturais em Barcelona. Finalmente, aprofundámos o estudo sobre o projeto 22@Barcelona no seu âmbito geral e, em especial, avaliamos o espaço público adjacente ao edificado das novas alividadcs produtivas criath'as. Este é exemplarmente representado pela intervenção de Palo Alto, dado o seu processo de transformação físico, produtivo o cultural. Desta aplicação do Poblenou, destacamos elementos de continuidade e de ruptura. Dos primeiros, a integração do território físico, relativamente ao conjunto da cidade; a continuidade da sua conceptualização enquanto um distrito industrial, inclusivamente adaptando o edificado da primeira industrializaçào para novos usos e valorizado enquanto património; a tentativa de manter a população residente, c a Instauração de novas infraestruturas físicas e sociais, que asseguram uma equivalência ao conjunto da cidade. Consideramos a configuração global do espaço público projetada pelo 22@ como qualitativamente positiva, fomentando a sua integraçao na cidade e a sua coesão urbana. Por outro lado, verificamos uma ruptura no ambiente construído: notoriamente no plano vertical, a tentativa de introduzir novos elementos diferenciadores na paisagem urbana resulta numa imagem trivial e na própria banalização dos recursos culturais. Sobre a ambiguidade destes resultados, valorizamos a integração do desenho destes novos espaços públicos do Poblenou numa continuidade histórica e territorial do conjunto da cidade, destacando-se este domínio de excelência representativo da Barcelona atual.
This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barcelona had a transformative impact on its physical configuration, and therefore on its public space. This phenomenon is linked to urban regeneration processes, common to the dynamics that occur in other cities. We believe it is important to analyse such processes, as they allow us to relate the economic and political assumptions with the results in the territory. Beyond this general interest, the specific characteristics of Barcelona make it stand out in relation to the operations in other cities, therefore ensuring the commitment of this research. By characterizing Barcelona as a creative city, we then analyse the deindustrialization and subsequent re-industrialization of the Poblenou derived of the 22@ plnn, which transforms the old manufacturing industries in knowledge­related industries, where culture is predominant. We use an innovative methodology, consisting of implementing a multi-scale analysis in space, and time, focusing on both economic and territorial policies in Poblenou. To contextualize this analysis, we first examine the general evolution of cities' cultural policies, in order to articulate the concept of “creative cities” with the process ot urban regeneration. Then, we look at the linkage between the uses evolution of the physical territory of Poblenou, and the progress of cultu.ral policies in Barcelona. Finally, we deepen the study of the 22@Barcelona project in its general context and, in particular, we evaluate the public space adjacent to buildings used for creating new productive activities. We analyse the intervention in Palo Alto by considering it esp«ially characteristic of this physical, productive and cultural transformation processes. This appreciation of Poblenou includes elements of continuity and rupture. On the first onc, wc observe the integration of its physical territory, in relation to the whole city; the continuity of its conceptualization as an industrial district, including the :ldaptation of the first industrialization buildings to new uses and valued an heritage; the attempt to keep the resident population; and finally, by the introduction of new physical and social infrastructures, providing an equivalence within the city. We consider the overall configuration of the public space designed for 22@ as qualitatively positive, by encouraging its integration in the city and its urban cohesion. But we also identify a break in the built environment: especially in the vertical plane, the intent of introducing new differentiators in the urban landscape results in a mundane image and on a cultural resources trivialization. On the ambiguity of these results, we highlight the value and integration and of these Poblenou's newly designed public spaces in the historical and territorial continuity of the whole city, emphasizing this aspect of excellence and as a representative of the contemporary Barcelona.
La tesi doctoral presentada a les pàgines següents examina rom la transformació de la base econòmica de la ciutat de Barcelona va tenir un impacte transformador en la seva configuració física i per tant el seu espai públic. Aquest fenomen està lligat a processos de regeneració urbana. comuns a les dinàmiques que ocorren en altres ciutats. Considerem que és important analitzar aquests processos doncs permeten que ens relacionar els supòsits econòmics i polítics amb els resultats sobre el territori. Més enllà d'aquest interès general. el cas de Barcelona té característiques especifiques que fan que es destaqui en relació amb les operacions desenvolupades en altres ciutats, que garanteix el compromís d'aquesta investigació. Caracteritzant Barcelona com a ciutat creativa, ens permet concentrar-nos en la desindustrialització i la posterior re-industrialització del barri del Poblenou gràcies al projecte 22@, trobant-hi el pas de les velles indústries a les indústries relacionades amb el coneixement,. on la cultura és predominant. Utilitzem una metodologia innovadora que consisteix en l'aplicació d'una anàlisi multi-escala, en l'espai i en el temps, i incideix en l'àmbit de les polítiques econòmiques i territorials al Poblenou. Per tal de contextualitzar l'anàlisi, examinem primer l'evolució general de les polítiques culturals a les ciutats, per tal d'articular el concepte de "ciutats creatives" amb els processos de regeneració urbana. Després observem el vincle entre l'evolució dels usos del territori físic del Poblenou, així com l'avanç de les polítiques culturals a Barcelona. Finalment, aprofundim l'estudi del projecte 22 @ Barcelona en el seu context general i, en particular, avaluem l'espai públic adjacent als edificis destinats a les noves activitats productives creadores. Això es mostra a tall d'exemple per la intervenció a Palo Alto, donada el seu procés de transformació física, productiva i cultural. D'aquesta apreciació del Poblenou, en destaquem els elements de continuïtat i ruptura. Els primers, la integració del territori físic, en relació a tota la ciutat; la continuïtat de la seva conceptualització com un districte industrial, incloent-hi l'adaptació dels edificis de la primera industrialització als nous usos i valorats com a patrimoni; tractant de mantenir a la població resident, i la introducció de nova infraestructura física i social, que proporcionen una equivalència amb tota la ciutat. Considerem que la configuració global de l'espai públic dissenyat per al 22@ és qualitativament positiva, fomentant la seva integració a les ciutat i la seva cohesió urbana. D'altra banda, comprovem una ruptura en l'entorn construït: sobretot en el pla vertical, l'intent d'introduir nous elements diferenciadors en els resultats paisatge urbà en una imatge trivial i, també, una trivialització dels recursos culturals. Sobre l'ambigüitat d'aquests resultats, valorem la integració del disseny d'aquests nous espais públics del Poblenou en una continuïtat històrica i territorial de tota la ciutat, destacant aquest aspecte d'excel.lència i representatiu de l'actual Barcelona.
La tesis doctoral presentada en las páginas siguientes examina cómo la transformación de la base económica de la ciudad de Barcelona tuvo un impacto transformador en su configuración física y por consiguiente su espacio público. Este fenómeno está ligado a procesos de regeneración urbana, comunes a las dinámicas que ocurren en otras ciudades. Consideramos que es importante analizar estos procesos pues nos permiten relacionar los supuestos económicos y políticos ron los resultados sobre el territorio. Más allá de este interés general, el caso de Barcelona tiene características específicas que hacen que destaque en relación con las operaciones desarrolladas en otras ciudades y que garantiza el compromiso de esta investigación. Caracterizando Barcelona como ciudad creativa, nos permite analizar la desindustrializadón y la posterior re-industrialización del Poblenou gracias al proyecto 22@, transformando las viejas industrias fabriles en las industrias relacionadas con el conocimiento, donde la cultura es predominante. Utilizamos una metodología innovadora consistente en la aplicación de un análisis multi-escala, en el espacio y en el tiempo, que incide en el ámbito de las políticas económicas y territoriales en el Poblenou. Para contextualizar el análisis, examinamos primero la evolución general de las políticas culturales en las ciudades, para articular el concepto de “ciudades creativas” con los procesos de regeneración urbana. Después, observamos el vínculo entre la evolución de los usos del territorio físico del Poblenou, así como el avance de las políticas culturales en Barcelona. Finalmente, profundizamos el estudio del proyecto 22@ Barcelona en su contexto general y, en particular, evaluamos el espacio público adyacente a los edificios destinados a las nuevas actividades productivas creadoras. Esto se muestra, a modo de ejemplo, en la intervención en Palo Alto, dado su proceso de transformación física, productiva y cultural. De esta apreciación del Poblenou, destacamos los elementos de continuidad y ruptura. Los primeros, la integración del territorio físico, en relación a toda la ciudad; la continuidad de su conceptualización como un distrito industrial, incluyendo la adaptación de los edificios de la primera industrialización a los nuevos usos y valorados como patrimonio; tratando de mantener a la población residente y la introducción de nueva infraestructura física y social, que proporcionan una equivalencia con toda la ciudad. Consideramos que la configuración global del espacio público diseñado para el 22@ es cualitativamente positiva, fomentando su integración en la ciudad y su cohesión urbana. Por otra parte, comprobamos una ruptura en el entorno construido: sobre todo en el plano vertical, con el intento de introducir nuevos elementos diferenciadores en el paisaje urbano que se traduce en una imagen trivial y, también, una trivialización de los recursos culturales. Sobre la ambigüedad de estos resultados, valoramos la integración del diseño de estos nuevos espacios públicos de Poblenou en una continuidad histórica y territorial de toda la ciudad, destacando este aspecto de excelencia y representativo de la actual Barcelona.

L’ambito della ricerca si riferisce al tempo, ai processi, alle pratiche e agli strumenti del design, espressi negli eventi progettati quali agenti di trasformazione nella relazione tra individuo, comunità e territorio. Il contesto è la città contemporanea entrata in un processo di mutazione continua, complice la crisi economico-finanziaria del 2007, e trasformata dagli effetti delle tecnologie abilitanti digitali, una condizione oggi amplificata dall’epidemia da Coronavirus. La grande crisi del capitalismo finanziario ha privato le pubbliche amministrazioni delle risorse e delle politiche di sostegno alla trasformazione urbana top down, mentre le tecnologie abilitanti hanno accelerato e reso inabili i tradizionali processi di relazione tra soggetti. La crisi attuale sta incentivando la migrazione dei comportamenti sociali dall’ambiente naturale verso l’ambiente virtuale, sostituendo l’esperienza fisica nello spazio-tempo della città con l’esperienza digitale, a vantaggio dell’incorporeità. I segnali deboli testimoni di questo processo di trasformazione sono l’emergere di piattaforme interattive che abilitano modelli in co-design di sviluppo, produzione, distribuzione e comunicazione, grazie a software open-source e licenze creative commons che incentivano processi di coinvolgimento bottom up. Queste modalità per creare e collaborare si fondano su metodologie mutuate dal design, su pratiche diffuse quali crowdsourcing e crowdfunding, su azioni informali ed eventi temporanei che contano sulle tecnologie abilitanti e sulla partecipazione di comunità di interesse. La ricerca si è sviluppata a partire da un regesto di casi internazionali per contestualizzarsi nell’esperienza delle grandi città italiane e infine passare alla applicazione sul campo nella città di Bologna, dove ho praticato l’esperienza di ricerca field in Bologna Design Week. L’ipotesi dimostrata è che gli eventi progettati possano essere uno strumento di riattivazione culturale e di cura delle comunità; una strategia di orientamento delle identità mutanti nella città contemporanea; un insieme di pratiche reiterabili di commoning design, creatività, tecnologie digitali e storytelling.
The research topic refers to time, processes, practices and tools of design, expressed in the designed events as agents of trans-formation in relation to the individual, the community and the territory. The context is the contemporary city affected by a process of continuous mutation, due to the economic and financial crisis since 2007 onward, and transformed by the effects of digital enabling technologies, whose changing condition has now ampli-fied by the Coronavirus epidemic. The great crisis of financial capitalism has deprived public administrations of resources and policies to support top-down urban transformation, while enabling technologies have accelerated and disabled the traditional processes of relationships between subjects. The current crisis is encouraging the migration of social behaviors from the natural environment to the virtual environment, replacing the physical space-time experience of the city within the digital experience, at the advantage of incorporeal. The weak signs witnessing this transformation process are the emergence of interactive platforms that enable co-design models for development, production, distribution, communication. Thanks to open-source software and creative commons licenses, they encourage bottom-up engagement processes. These techniques to create and collaborate are based on methodologies bor-rowed from design; on widespread practices such as crowdsourcing and crowdfunding; on informal actions and temporary events that rely on enabling technologies and the participation of communities of interest. The research developed from a record of international cases; up to contextualize the experience of large Italian cities. It finally moves on, assuming the city of Bologna as application field, where I experience the research topic through Bologna Design Week. The demonstrated hypothesis is that the designed events can be assumed as a tool for cultural reactivation and community care; as a strategy for orienteering changing identities in the contemporary city; as a set of repeatable practices of commoning design, creativity, digital technologies and storytelling.

Tese de Mestrado em Comunicação Social
A criatividade tem vindo a assumir-se como uma componente primordial para o crescimento económico, sendo reconhecido o seu valor no contexto de diferentes profissões e atividades. A música, enquanto forma de representação da identidade cultural, contribui ativamente para a construção da identidade nacional, vinculando-a através dos seus artistas e criações. No quadro da The Creative Cities Network, da UNESCO, e tendo por base a dinamização do sector das “Industrias Criativas”, procedeu-se à identificação das condições base para a preparação de uma futura proposta de atribuição do selo "creative city" à cidade de Lisboa, no sector da música. Foi analisado um conjunto de estudos de carácter científico e estatístico, acerca da performance económica das Indústrias Criativas em Lisboa. Os resultados sugerem que Lisboa reúne as condições materiais, os recursos humanos e técnicos e os espaços físicos para se posicionar como uma cidade criativa, atuando como cluster musical. O Selo poderá promover a internacionalização e a capacidade competitiva da economia da cidade, numa escala regional e global. Paralelamente, este projeto abarca uma componente multimédia de criação de um mapa interativo, aberto e acessível a todos, para consulta dos espaços culturais em Lisboa, lançando as bases para um serviço de geo-localização, tagging e agenda, como complemento a Lisboa enquanto membro desta rede.
Creativity has been defining itself as a major factor towards economic development, and its value has been recognized in the context of different jobs and activities. Music, as a representation of cultural identity, actively contributes to the construction of the national identity, conveying it through its artists and creations. As part of The Creative Cities Network, of UNESCO, and based on the dynamics of the sector of "Creative Industries", the identification of the basic conditions for the preparation of a future proposal for awarding the Tag of "creative city" to the city of Lisbon, in the music sector, was accomplished. A set of studies of scientific and statistical character was analyzed, about the economic performance of the Creative Industries in Lisbon. The results suggest that Lisbon has the conditions, human resources and technical and physical spaces to position itself as a creative city, acting as musical cluster. The Seal could promote the internationalization and competitiveness of the city's economy, both at regional and global scale. In addition, this project includes a component of multimedia creation of an interactive map, open and accessible to all, for consultation of cultural spaces in London, laying the foundation for a service of geo-location, tagging and agenda, as a complement to Lisbon while member of this network.

This thesis examines the formation and governance patterns of the social and spatial concentration of creative people and creative business in cities. It develops a typology for creative places, adding the terms 'scene' and 'quarter' to 'clusters', to fill in the literature gap of partial emphasis on the 'creative clusters' model as an organising mechanism for regional and urban policy. In this framework, a cluster is the gathering of firms with a core focus on economic benefits; a quarter is the urban milieu usually driven by a growth coalition consisting of local government, real estate agents and residential communities; and a scene is the spontaneous assembly of artists, performers and fans with distinct cultural forms. The framework is applied to China, specifically to Hangzhou – a second-tier city in central eastern China that is ambitious to become a 'national cultural and creative industries centre'. The thesis selects three cases – Ideal & Silian 166 Creative Industries Park, White-horse Lake Eco-creative City and LOFT49 Creative Industries Park – to represent scene, quarter and cluster respectively. Drawing on in-depth interviews with initiators, managers and creative professionals of these places, together with extensive documentary analysis, the thesis investigates the composition of actors, characteristics of the locality and the diversity of activities. The findings illustrate that, in China, planning and government intervention is the key to the governance of creative space; spontaneous development processes exist, but these need a more tolerant environment, a greater diversity of cultural forms and more time to develop. Moreover, the main business development model is still real estate based: this model needs to incorporate more mature business models and an enhanced IP protection system. The thesis makes a contribution to literature on economic and cultural geography, urban planning and creative industries theory. It advocates greater attention to self-management, collaborative governance mechanisms and business strategies for scenes, quarters and clusters. As intersections exist in the terms discussed, a mixed toolkit of the three models is required to advance the creative city discourse in China.

Over the last decade, emergence and popularity of the creative city has generated considerable interest in the significance of arts and culture to economic and community development. In this context, artists and cultural facilities are considered essential assets contributing to creativity and innovation by attracting skilled workers and business investments, revitalizing inner city industrial areas, and discursively reimagining and rebranding the city through cultural events and large-scale cultural infrastructure projects. This research examines the effects of regulations on the creation and operation of artist-run centres and independent arts facilities as essential sources of cultural production and creativity in Vancouver, British Columbia. Drawing on a series of in-depth, semi-structured, face-to-face interviews with the founding members, administrators, directors/curators, and/or primary operators of twelve artist-run facilities in Vancouver, research examines how artists and arts administrators experience the process of achieving bylaw and regulatory compliance to manage and sustain the operations of non-profit and independent arts spaces in a post-industrial context of policy implementation and urban redevelopment. Research addresses the strategies artists’ employ to achieve bylaw and regulatory compliance, as well as the contributions these spaces make to the cultural fabric of the creative city. Finally, research examines artists’ primary motivations for continuing their creative practices in increasingly challenging arts market and policy context. Research findings reveal that while non-profit and independent arts spaces contribute to both community revitalization and artistic development, issues pertaining to the urban planning and policy limit their community and economic development potential. As a result, this paper calls for a constructive and collaborative approach to enabling cultural facilities development within local government, and a re-conceptualization of the creative city planning agenda to include both the cultural products of creative industries and the diverse cultural experiences of non-profit and independent arts organizations beyond their economic and commercial development imperatives.

This is an interdisciplinary, mixed-method thesis that explores contemporary curation as a means to creatively activate heritage collections and places. The central case study is Ballaarat Mechanics’ Institute (BMI), in Ballarat, Australia, where practice and action-led research was undertaken by the curator over the three-year period 2016–2019. Creative connections between five interlinked areas are critically examined: heritage; curatorial practice, by which heritage sites, collections and experiences are managed; historic cultural organisations; their city contexts; and the ways in which such cultural work is valued. The framework for analysis encompasses museology, critical heritage, and approaches to cultural value. Contemporary urban Mechanics’ Institutes (MIs) are placed in the museum context both through historic parallels and their contemporary positioning in the GLAM (galleries, libraries, archives and museums) industry sector. This is in order to ask how heritage collections, and the organisations that house and present them, can creatively connect with the publics they serve with greater connectivity and relevance. Exhibitions and events held at BMI within Ballarat city are treated as case studies. Together with qualitative interviews with staff in the Ballarat GLAM sector and urban MIs, insights derived illuminate the role and challenges of such cultural organisations in the twenty-first century. It is argued that, when employing the practice and energy of the curator, creative activations have the potential to open new points of entry to, and provide alternative perspectives upon, heritage places and collections. This is achieved through arts practice, organisational thinking, and bringing to life the links between past, present and future. In this process, new and dynamic measures of value can be explored and create dialogic encounters between people, heritage and ideas.
Doctor of Philosophy

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The idea of the creative city emerges as the fruit of the post-industrial era, when cities needed to reinvent themselves from a strategic relationship with creativity, specifically with the creative industry and the creative economy. The formulation of those expressions, first raised by the australian government and later by the british, discussed the value of art and culture through those which were possible the creation of jobs and wealth production. The United Nations, through UNCTAD and Unesco, incorporated in their discourses and policies the importance of the development of the urban environment ordered by creativity. Its intention was embodied after the launch of the Unesco Network of Creative Cities in 2004, platform that established a commitment to invest in creativity and culture as a strategic factor for "sustainable" urban development. In order to understand this dynamic that uses culture as an urban management strategy, the Network's research from the perspective of the five Brazilian cities - Florianópolis and Curitiba, with the insertion in 2014, and the cities of Belém, Santos and Salvador, in 2015 - allowed to identify the strategies that configure this program and, also, the nuances of each one. The idea was based on the investigation of application forms, information in electronic media and digital files. The research rethinks that the discourse of the creative city is closer to the image bias, economic and political than the ideal model of a post-industrial city, as some theorists claim. Possibly, the creative city is only a reflection of an image that began in the economy and was diluted in the discourse of managers, possessing the Nation-State as controlling agent.
ideia da cidade criativa surge como fruto da era pós-industrial, época em que as cidades precisavam se reinventar a partir de uma relação estratégica com a criatividade, especificamente com a indústria criativa e a economia criativa. A formulação de tais expressões, colocadas em questão, primeiramente pelo governo australiano e depois pelo britânico, discutiu acerca da valorização da arte e da cultura, por meio das quais eram possíveis a criação de empregos e a geração de riqueza. As Nações Unidas, por meio da UNCTAD e da Unesco, incorporaram, em seus discursos e políticas, a importância do desenvolvimento do meio urbano ordenado pela criatividade. Sua intenção se corporificou após o lançamento da Rede de Cidades Criativas da Unesco, em 2004, plataforma que firmou o compromisso em investir na criatividade e na cultura como fator estratégico para o desenvolvimento urbano “sustentável”. Com o objetivo de compreender essa dinâmica que utiliza a cultura como estratégia de gestão urbana, a investigação da Rede pela perspectiva das cinco cidades brasileiras – Florianópolis e Curitiba, com a inserção em 2014, e as cidades de Belém, Santos e Salvador, em 2015 – permitiu identificar as estratégias que configuram esse programa e, também, as nuances de cada uma. A ideia partiu da averiguação de formulários de candidatura, de informações em meios eletrônicos e arquivos digitais. A investigação faz repensar que o discurso da cidade criativa está mais próximo do viés imagético, econômico e político, do que de um modelo ideal de cidade pós-industrial, como alguns teóricos afirmam. Possivelmente, a cidade criativa seja apenas reflexo de uma imagem, que se iniciou na economia e diluiu-se no discurso de gestores, possuindo o Estado-Nação como agente controlador.

Cultural and creative industries (CCIs) clusters have been a privileged policy approach to expand urban and economic development in Eastern Asian cities, such as Singapore, Hong-Kong, Shang-Hai and Taipei. Most CCIs clusters examples in Eastern Asian cities, combine both urban planning and economic rationales and take the form of mega-projects and various initiatives. These restricted economic and planning approaches generate debates on the effects of cluster policy on the development of CCIs in Eastern Asian cities because policy-makers emphasize the economic effect of CCIs, but neglect the local contexts in terms of existing and potential markets and consumption levels. The thesis presents a more holistic approach including cultural, economic and planning components to assess the effectiveness of a bottom-up initiative Hua-Shan Cultural Park and a top-down initiative NanKang Software Industrial Park in Taipei. The research is based on a longitudinal approach and discusses the perspectives of the various actors involved in this initiative over time: the cluster operators, the policy makers and the CCIs representatives (including individual workers, companies and NGOs). By contrasting these different perspectives, this article demonstrates the types of issues, conflicts and compromises that can happen during the implementation process of cluster policies as well as potential emerging collaboration and impacts on CCIs actors. This thesis concludes by exploring the implications of taking into account the local contexts when implementing such policies and further suggests ways for policy makers to better do so in Eastern Asian cities.

The arts and cultural sector has come under even more financial strain than it previously was, as it has to compete with other sectors of the economy for the very limited public funding that is available. It is in this context that the economic impact, and the role, of the arts and cultural sector towards advancing economic growth and development, needs be examined. This thesis investigates the potential for the positive impact of the cultural and creative industries (CCIs) on growth and development of small cities and towns. Furthermore, it also provides guidelines for the development of regional cultural policy in small cities and towns. The CCIs have also been touted as a catalyst for economic growth and economic development, hence the global rise in their interest. For example, the CCIs have been used to redevelop and revive urban areas that have been rundown. CCIs, however, tend to develop in clusters, and additionally, they cluster around large cities. However, the lack of reliance of some CCIs on long supply chains or high-technology inputs may make them suitable candidates for investment in small cities and towns. Additionally, the link that small cities and towns have with rural and isolated areas makes them potential engines for driving growth, development, as well as employment creation for these areas, given their decline as a result of the transition from the traditional agricultural economy, to the knowledge economy. As CCIs have the propensity to drive government’s macroeconomic objectives such as efficiency, equity, economic growth and job creation, it is necessary to develop cultural policy that regards this. The tendency of CCIs to cluster and develop around large cities inevitably means that very little research into cultural policy directed towards regions without large cities and towns has been done. By the same token, very little research has also been conducted on how to craft cultural policy for such areas. In order then, for cultural policy for regions without large cities and towns to be developed, it is necessary to investigate, and provide, guidelines on, how to develop cultural policy for such regions. As a case study, the Sarah Baartman District Municipality (SBDM) in the Eastern Cape was chosen. The SBDM has no large cities and towns, but the District Municipality has identified the CCIs as a potential growth sector, and is in the process of developing a regional cultural policy. The area also includes Grahamstown, which not only hosts the National Arts Festival, which is the largest arts event of its type in Africa, but is also piloting the “Creative City” project in South Africa. An audit and mapping study was conducted on the CCIs in the SBDM; this was based on a national mapping study commissioned by the Department of Arts and Culture. Further internet searches, as well as consultations with the provincial and regional Department of Arts of Culture, coupled with snowball sampling, also aided in the identification of CCIs, and consequently, the “creative hotspots” within the SBDM. Two random samples of stakeholders were chosen; the CCI owners and practitioners, as well as key stakeholders such as government officials, and interviews conducted with both groups, in order to get a first-hand perspective on the operations, activities, challenges, and opportunities that are faced by the CCIs. The study found that there were at least 441 CCIs in the SBDM, with two local municipalities (Dr. Beyers Naude and Makana) hosting the largest share of these (145 and 113 CCIs in each local municipality respectively), which indicates some support for the ‘clustering’ theory. It was also found that the local municipalities that had the largest number of CCIs also experienced better socio-economic welfare. Furthermore, based on the UNESCO Framework for Cultural Statistics (FCS) domains, the Visual Arts and Crafts; Information, Books and Press; and, Cultural Heritage domains were the largest domains represented in the SBDM. It was concluded that cultural policy that is developed, ought to take advantage of, and build on, these existing clusters, as well as the domains that are most prevalent in the region. To demonstrate the impact of cultural festivals on growth and development, a socio-economic impact study was undertaken at the 2016 National Arts Festival (NAF) in Grahamstown. Face to interviews, as well as self-completion questionnaires were used, with respondents at different venues, attending a variety of shows, and across a range of demographics, being interviewed, in order to get a representative sample of Festival attendees. It was found that the economic impact of the 2016 NAF on the city of Grahamstown was R94.4 million. Over and above the economic value of the NAF, it was also found that there were nonmarket benefits (social and intrinsic values) of the NAF, that included audience development, education of the arts and culture, social cohesion, and community development. The inability to directly track and measure social and intrinsic values proved to be a challenge. The study concluded that in order for successful cultural policy to be developed in regions without large cities and towns, it is first necessary to carry out a study to identify what resources are present, and where they are. Locating resources enables cluster identification - as clusters encourage comparative and competitive advantage, it is worthwhile to invest in areas where there are clusters. Therefore, in the allocation of scarce public funds, cultural policy needs to guide investment in to areas where established clusters indicate existing comparative advantage. In terms of equity and transformation, it is also necessary to evaluate labour markets and ownership patterns when developing cultural policy. Beyond the analysis of physical and human resources, the study also found that a crucial step towards developing successful cultural policy is identification of opportunities and challenges faced by the practitioners themselves; the policy ought to capitalise on the opportunities, whilst attempting to correct the challenges faced. Also of importance is aligning the proposed policy and its objectives with regional, provincial and national aims and objectives. Finally, it is important to include a monitoring and evaluation tool that will evaluate the performance of the policy against its stated aims and objectives.

This thesis discusses the role and function of the temporary use of urban space within the context of the development process and urban regeneration across the core cities of England. The research utilises the concept of gaps in the cycle of utilisation in land and property to develop a single structured analytical framework to assess the relationship between disuse, interim development as a means to alleviate vacancy and the property development industry. In doing so it attempts to extend existing efforts to interpret temporary urban development by exploring what the thesis comes to define as 'extraordinary' and 'ordinary' forms of short-term reuse. An exploratory, mixed method and multi-scalar approach is used to discuss this dichotomy. Research findings, through a national landscape of the phenomenon of temporary development in the core cities, highlight the characteristics of high profile compared to everyday temporary solutions. In doing so, it exposes the limited frequency of landmark interim solutions in comparison to their more mundane counterparts over a fifteen year period (2000-15). Set against this contextual and temporal backdrop, extraordinary temporary uses are demonstrated to be a marginal but emerging practice of land and property re-use, associated in particular with the aftermath of the financial crisis of 2007-08. Subsequent testing of the spatial distribution and patterning of temporary uses in two selected cities - Bristol and Liverpool - revealed that landmark interim solutions were more commonly centralised in cities than everyday versions, with disproportionately large shares in principal regeneration areas. Through a programme of interviews with key regeneration and development actors, connectivity to urban renewal was shown to be dependent on how the shape and form of local development processes evolve and how regeneration actors' outlooks on temporary use vary over time, as institutional agendas shift and urban economic circumstances change. The thesis explores this shift in the function and emphasis of temporary development in England's second tier cities, from ordinary, everyday forms toward cultural-creative, extraordinary solutions, to discuss the implications of employing high profile short-term uses as mechanisms to incentivise regeneration. Here, the use gap framework developed in this research is shown to be a useful method for conceptualising the rationale behind the variation in stakeholder perspective on temporary development. The model highlights how fluctuating externalities and the interrelating variables of risk, value and time can affect responses taken toward temporary development by the development industry, elucidating a more complete understanding of the role and function of temporary urbanism amongst the wider (re)development process. Ultimately, this thesis argues that while the consensus on temporary use is that it is an effective tactic to assist in the continuation of regeneration, it can also leave some temporary users exposed to the vicissitudes of the market. Extraordinary users bear a disproportionate share of the potential risks associated with development, often without commensurate reward. This illustrates how temporary use can engender opportunity for creativity and innovation as part of the regeneration process, but also, demonstrates how risk-shifting rationalities in the development industry can mean that economic, social and political costs accrue inordinately for temporary users. The research specifies that recognition of the locally specific and multi-dimensional nature of the development process and appreciation of the complexity of the interrelationships between the actors involved are of critical importance in any attempt to understand the role and function of temporary use. It concludes that by understanding the evolution of local structures and actions, over time and across space, the nature and form of temporary development can be better appreciated and strategies to successfully manage it developed.

No arco da última década e meia, uma confluência de fatores de impacto mundial tem originado novos entendimentos e organizações de ordens econômica e urbana. Insere-­-se nesse quadro a eclosão dos debates acerca da \"economia criativa\" e, de forma mais recente, da \"cidade criativa\". No Brasil, ainda há parca bibliografia a respeito de ambos os temas e dos benefícios que poderiam gerar ao contexto urbano. A presente tese responde fundamentalmente a duas questões: caracterizar o que seria uma cidade criativa e analisar se São Paulo pode ser caracterizada como uma. Para tanto, unem-­-se neste trabalho revisão conceitual; cunhagem de um conceito norteador de cidade criativa; experimentação de sua aplicabilidade a três cidades; e uma análise prática da aderência desse conceito à cidade de São Paulo, sob dois recortes: de forma abrangente; e de modo aprofundado, tendo as artes plásticas contemporâneas como instrumento de estudo.
Over the past fifteen years, a convergence of factors of global impact has motivated new understandings and organisations of economic and urban order. This is the background leading up to the emergence of the \"creative economy \" and, more recently, the \"creative city\". In Brazil, the bibliography of both subjects is still scarce, the same applying to their potential benefits to the urban context. The present thesis aims to respond fundamentally to two questions: to draw the features of a creative city and to analyse if São Paulo could claim to be one. Therefore, this work encompasses a conceptual review; the proposal of a driving concept of creative city; an experimentation of its suitability to three cities; and a practical analysis of its adherence to the city of São Paulo, at two levels: comprehensive and in-­-depth, using contemporary art as a tool for analysis.

Work on urban renewal internationally focuses on a vast range of topics, including gentrification, increased criminalization of poverty, rent-seeking behaviour, and neoliberal urbanism. These arguments tend to centre the interests and actions of certain actors, prioritize certain forces (such as economic ones), and thus tend to predict a particular set of outcomes. In adopting a southern urbanist epistemology, and Jennifer Robinson’s reimagined comparativism through a reconceptualized 'case’, this research shows how predominant assumptions regarding the drivers and outcomes (both social and physical) of urban renewal do not necessarily apply in the case of Braamfontein, an instance of urban renewal in Johannesburg, a post-apartheid city in the south. The findings examined here include policy narratives and empirical referents to culture-led strategies of urban renewal and ways in which they speak less to market-orientated objectives, and more to socio-political ones; how the findings in Braamfontein speak to literature on gentrification, studentification, and youthification, showing that urban renewal and gentrification are not the same processes, and that studentification does not necessarily lead to youthification or gentrification; how attempts to suppress informal trade have led to the proliferation of iterant strategies on the part of hawkers, and have in turn led to enhanced relationships between informal traders and the formal economy; and, finally, how the presence of communities self-identifying as foreign or gay are shown to be driven by forces other than those that the literature typically predicts.

Through my Creative Non-Fiction Writing thesis, I have attempted to challenge the boundaries of the genre, after D’Agata and the works of other contemporary creative non-fiction writers. However, I have also challenged the boundaries of our own frame for reality that defines the human experience. As I began writing this, I asked myself: can we write about spaces or do we write spaces ourselves, interlacing the city into an imagined space? I didn't realize that I had forgotten the most important question of all: do spaces write us? These stories are predominantly about my search for “authentic” space, for the “real” city—and I have tried to challenge the idea of authenticity through the style of my writing, in addition to the narratives, lyric essays, and arguments in my thesis. I’ve lived in six cities over the past five years, and yet, each time, in the end, I return to Munich. There is something about the urban fabric there, a tear I can sense, or perhaps it is inside of me, waiting to be filled. And somewhere along the way, I started to have this idea that I could write about this city, collecting the pieces of my experiences. I was left with a collage of moments, moments of a city that was mine—not knowing that the city is bigger than any of us, a character that cannot be captured by any means. Not knowing the impact the city might have on me.

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O presente trabalho pretende dedicar-se a discussão dos elementos que compõem a economia criativa, para tanto, utiliza diferentes conceitos de criatividade, indústrias criativas e cidades criativas. O termo economia criativa surgiu em 2001 com o livro de John Howkins, mas a idéia básica foi apresentada no estudo Creative Nation realizado pelo governo australiano em 1994. A partir de então, diversos países têm adotado o conceito como instrumento de fomento ao desenvolvimento econômico e social. Assim, a associação da economia criativa a uma economia voltada ao desenvolvimento está ligada, portanto, ao reconhecimento de que a criatividade humana pode ser um ativo econômico (REIS, 2012). Diferentes países e regiões podem utilizar essa abordagem com o objetivo de alcançar efeitos positivos sobre o emprego e como ferramenta para a promoção da inclusão social. A discussão é recente no Brasil, um dos estudos pioneiros foi desenvolvido pela Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN), intitulado “A Cadeia da Indústria Criativa no Brasil”. A partir desse trabalho e do banco de dados da Secretaria de Turismo, Trabalho e Renda – SETGER da prefeitura de Vitória foi possível desenvolver um estudo espacial dos empreendimentos criativos para Vitória -ES. Concluiu-se, então, que a desconcentração dos empreendimentos criativos nas diferentes regiões do município deve ser um dos objetivos buscados para que a cidade se transforme em um espaço mais colaborativo e coeso.
The present work intends to engage in discussion of the elements that make up the creative economy, therefore, uses different concepts of creativity, creative industries and creative cities. The term creative economy appeared in 2001 with the book of John Howkins, but the basic idea was presented in the Creative Nation study conducted by the Australian government in 1994. Since then, several countries have adopted the concept as an instrument to promote economic and social development. Thus, the combination of a creative and a development economy is linked, therefore, to the recognition that human creativity can be an economic asset (Reis, 2012). Different countries and regions can use this approach with the objective to achieve positive effects on employment and as a tool for the promoting social inclusion. The discussion is recent in Brazil, one of the pioneering studies was developed by the Federation of Industries of the State of Rio de Janeiro ( FIRJAN ) entitled "The Chain of Creative Industry in Brazil". From that job and the database of the Department of Tourism, Work and Income from the City of Vitória was possible to develop a spatial study of creative enterprises to the county. Then it was concluded that the deconcentration of creative enterprises in different regions of the municipality must be one of the goals pursued for the city to become a more collaborative and cohesive space.

In the novel Elvis Plays Texas, which is my Thesis project to meet the requirements for a Master of Fine Arts in Creative Writing/Fiction, a little town in far, far West Texas and its people are having a very difficult time and facing what promises to be a bleak future—a long, long drought has exhausted their water supply, oil has peaked and turned down, “fracking” threatens their way of life, friends and family and neighbors are loading up and leaving town. Then, Elvis Presley shows up. It’s the 40th anniversary of the day he died, August 16, 1977, and he, spiritually though appearing in every way to be flesh and blood, is visiting those who’ve continued believing in him and to whom he had been particularly important during their younger lives. My own long history in that part of the country has played its considerable role in informing the setting, the tone, the atmosphere. These are the kinds of characters—strange birds all—I grew up with. The country is the southwestern desert, hot, dry, empty, big sky—the kind of neighborhood that lends itself to oddities like Elvis throwing a benefit concert to help them out of the economic ditch.

Nos tempos atuais, cada vez mais tem se discutido sobre a importância da Economia Criativa para países e regiões. De fato, praticamente toda atividade humana utiliza-se em alguma medida da criatividade, por isso, existe um movimento nos últimos anos para reconhecer em determinadas atividades conteúdo intelectual, cultural e artístico que agregam valor a bens e serviços. A partir dos anos 2000 surgiram diversas metodologias cujo objetivo era mensurar a Economia Criativa, isso despertou grande interesse dos governos locais e nacionais, pois isso poderia ser usado para direcionar esforços e investimentos públicos com a finalidade de alavancar o desenvolvimento econômico local. Dentre as metodologias lançadas, uma das primeiras, o Índice das Cidades Criativas desenvolvido por Richard Florida gerou grande repercussão na comunidade acadêmica e civil com a utilização de diversos indicadores divididos em três dimensões, Talento, Tecnologia e Tolerância (os 3 Ts). Diversas outras metodologias desenvolvidas posteriormente com o objetivo de mensurar a Economia Criativa foram fortemente influenciadas pela estrutura dos 3 Ts. Contudo, existe uma grande dificuldade para replicar qualquer uma dessas metodologias para as cidades brasileiras, em razão de diversos motivos, dentre eles a inexistência de dados públicos referentes aos indicadores utilizados. Com o objetivo de equacionar essa dificuldade, esse trabalho se propôs a identificar, a partir de quarto indicadores internacionais pré-selecionados, quais os dados que serão utilizados e compará-los aos existentes no Brasil, através da proposta de um índice chamado de Índice da Economia Criativa Brasileiro (IECBr). Após essa análise, foram escolhidas sete cidades (São Paulo, Rio de Janeiro, Curitiba, Brasília, Salvador, Fortaleza e Belém) para medir a Economia Criativa dessas regiões. Após o cálculo do IECBr foram utilizadas duas ferramentas estatísticas, o Coeficiente de Correlação de Pearson e a Análise de Clusters. A primeira ferramenta mostrou que existiam alguns indicadores contrários aos demais indicadores da mesma dimensão, por isso, optou-se por calcular novamente o índice sem esses indicadores. Por fim, foi utilizada a segunda ferramenta estatística para mostrar que as cidades escolhidas formariam dois grupos distintos, um grupo contendo as cidades do Sul e Sudeste do país e outro contendo as cidades das outras regiões.
In current times, the discussion around the importance of the creative economy for countries and regions has become notarial high. In fact, virtually all human activity has been used the creativity in some way, so there has been a movement in recent years to recognize certain activities in intellectual, cultural and artistic content that can add value to goods and services. Beginning in the 2000s, several methodologies emerged with the objective of measuring the Creative Economy, bolstered by high levels of interest on the part of local and national governments that are saw an opportunity to use direct efforts and public investments in order to boost local economic development. One of the first methods launched, the Index of Creative Cities, developed by Richard Florida, has generated significant repercussions in both the of academic community and civil society with the use of different indicators divided into three dimensions: Talent, Technology and Tolerance (the 3 T\'s). Several subsequent methodologies, with a similar goal of measuring the Creative Economy, were strongly influenced by the structure of the 3 T\'s. However, great difficulties are encountered when attempting to apply any of these methodologies to Brazilian cities, due to several reasons, most notably the lack of public data relevant to the indicators used. To mitigate this issue, this project aimed to identify, based on four international indexes previously selected, which data could be used to compare against the ones existing in Brazil, by proposing an index called the Brazilian Creative Economy Index (IECBr). After this analysis, we selected seven cities (São Paulo, Rio de Janeiro, Curitiba, Brasilia, Salvador, Fortaleza and Belem) to measure the Creative Economy. Two statistical tools were used, the Pearson correlation coefficient and Cluster Analysis. The first tool revealed that there were some indicators contradicted other indicators of the same dimension, so it was decided to recalculate the index without these indicators. Lastly, the second statistical tool showed that the chosen cities formed two distinct groups, one group consisting of Southern and Southeastern cities and the other consisting of all other regions.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The term creative cities has first appeared in a Brazilian government policy, specifically in the Plan of the Secretariat of the Creative Economy: policies, guidelines and actions, 2011-2014, as a new urban planning strategy based on the revitalization of specific parts of the city and the creation of creative territories. The purpose of this thesis is to analyze the formation of the creative city concept in Brazil, as well as the mechanisms of power involved. The research problem focuses on what the statement creative cities hidden, namely the fact that it is an improvement of neoliberal rationality applied in space. LEFEBVRE (1996), Virilio (1999) and HALL (2013) were essential to think about the different forms of organization of cities and their renovation projects; while FOUCAULT and AGAMBEN grounded the inclusion of biopolitics in this discussion. The hypothesis of the thesis is that the creative class has a particular status in the cities, reinforcing the image of creative cities as open, cosmopolitan, young, culturally interesting and transforms urban centers like São Paulo, Berlin, New York, Barcelona in a fetish and lifestyle in commodity, collaborating with the thought and with the neoliberal system. The research methodology includes a bibliographic review on the topic of economics and creative cities and an analysis of experiences based in other space-time usage possibilities of using, from coordinated actions of reappropriation of idle spaces by small groups or collectives. The expected result is to collaborate with the criticism of the naturally positive valued idea of creativity that has invaded the big cities, acting from gentrification and thanatopolitics
O termo cidades criativas apareceu pela primeira vez numa política governamental Brasileira no Plano da Secretaria da Economia Criativa: políticas, diretrizes e ações, 2011 a 2014, como uma nova estratégia de planejamento urbano baseada na revitalização de pontos específicos da cidade e na criação de territórios criativos. O objetivo desta tese é analisar a formação o conceito de cidade criativa no Brasil, assim como, os mecanismos e dispositivos de poder envolvidos. O problema da pesquisa concentra-se naquilo que o enunciado oculta, a saber, o fato de se tratar de um aperfeiçoamento da racionalidade neoliberal plicada no espaço. LEFEBVRE (1996), VIRILIO (1999) e HALL (2013) foram essenciais para pensar as diferentes formas de organização das cidades e seus projetos de reforma; enquanto FOUCAULT e AGAMBEN, fundamentaram a inserção da biopolítica nessa discussão. A hipótese da tese é que a classe criativa possui um status particular nas cidades, reforçando a imagem das cidades criativas como ambiente aberto, cosmopolita, jovem, culturalmente interessante e transforma centros urbanos como São Paulo, Berlim, Nova Iorque, Barcelona em fetiche e o estilo de vida em commodity, compactuando com o pensamento e com o sistema neoliberal. A metodologia da pesquisa compreende uma revisão bibliográfica sobre o tema da economia e das cidades criativas e uma análise de experiências que se baseiam em outras possibilidades de uso do espaço-tempo, a partir de ações coordenadas de reapropriação de espaços ociosos por pequenos grupos ou coletivos. O resultado esperado é colaborar com a crítica à ideia naturalmente positivada de criatividade que tem invadido as grandes cidades, agindo a partir da gentrificação e da tanatopolítica

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux
Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up

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As cidades, são o produto da coletividade dos acontecimentos, dos fatos históricos e culturais, das relações e experiências vivenciadas pelas pessoas em meio aos seus espaços urbanos. Cada cidade, é um organismo vivo, em constante transformação, dotada de uma personalidade própria, consequência de sua história e da capacidade de se adaptar às mudanças ocasionadas pelo seu desenvolvimento ao longo dos anos. Este trabalho, parte da intenção de qualificar o desenvolvimento de cidades de pequeno porte, através da criação de um planejamento estratégico focado ao município de Selbach/RS, objeto de estudo desta pesquisa, envolvendo uma visão renovada, capaz de implementar soluções criativas, através de uma visão prospectiva – com áreas de atuação delimitadas como setores prioritários, sugerindo à eles uma série de estratégias inovadoras, revertido posteriormente em uma publicação, que possa nortear e servir de auxílio referencial para o desenvolvimento sadio do município ao longo dos próximos 20 anos, e a partir disso, posicionar a cidade de Selbach como uma Cidade Criativa. A partir dos objetivos traçados e o desfecho deste trabalho, evidencia-se que por meio de sua ação sobre o espaço em que vive, o ser humano tem o poder de transformar o ambiente ao seu redor. Isso não se limita apenas a dominá-lo, melhorá-lo, destruí-lo ou conservá-lo como tal, significa imprimir nele suas marcas de sentimentos e valores.
Cities are the product of the collective events, the historical and cultural events, the relationships and experiences lived by people in their urban spaces. Each city is a living organism in constant transformation, endowed with a personality of its own, a consequence of its history and the ability to adapt to the changes brought about by its development over the years. This work, part of the intention to qualify the development of small cities, through the creation of a strategic plan focused on the city of Selbach/RS, object of study of this research, involving a renewed vision, capable of implementing creative solutions, through A prospective vision - with areas of activity delimited as priority sectors, suggesting to them a series of innovative strategies, reversed later in a publication, that can guide and serve as a reference aid for the healthy development of the municipality over the next 20 years, and From there, position the city of Selbach as a Creative City. From the objectives outlined and the outcome of this work, it is evident that through its action on the space in which it lives, the human being has the power to transform the environment around him. This is not limited to dominating it, improving it, destroying it or keeping it as such, means to imprint on him his marks of feelings and values.

The research analyses the processes of artist's integration from underground scenes and social movements to mainstream markets in Milan and Berlin, focusing on the transformations of urban contexts in the age of post-fordism. In the first chapter, the author takes into account the various theoretical frameworks of the studies on integration, considering the social movements studies approach (Castells and Pruijt), the subcultural studies approach (Cohen and Hebdige), the approach of the artistic critique developed by Boltanski and Chiappello and the studies on symbolic and subcultural capital (Bourdieu, Harvey an Thornton). The second chapter defines the methodological paths of the research, identifying four main urban variables that have been hypotisized as transforming factors related to integration (urban market, real estate, mobilisation cycles and institutional paths) and establishing definitions for the main topics (creative industries, underground, mainstream, new media arts). Chapter three and four are the ethnographic reports of the fields of Milan and Berlin: the main focuses here are on how the four urban variables have influenced integration paths, biographies and choices of activists and artists. In the analytical chapter the author reflects on the relationship between urban spaces, windows of opportunity, collective symbolic capital, subcultural identity and integration; here, there is a deepening on the relationships between transformations in urban economy, flexibility in labour markets and subcultural social cohesion. In the conclusions, the author optimises and re-defines the variables and suggests a general scheme for the interpretation of integration paths.

Esta es una Tesis de Compendio que trata de ofrecer una unidad temática a diez artículos publicados en libros y en revistadas indexadas, además de dos libros resultantes de investigación. Estos textos, publicados, en cinco países diferentes (España, Brasil, México, Argentina y Guatemala), son evidencias del esfuerzo investigador de una trayectoria que empezó en los años 80. La problematización que provocó la línea de investigación fue el interrogante sobre la capacidad creativa y sus posibilidades éticas, sociales y ciudadanas, aplicadas a la educación en su sentido más amplio. Alrededor de las relaciones posibles entre estos campos temáticos, se ha ido construyendo, a lo largo de los años, una praxis que ha planteado prácticas y reflexiones diversas. Los textos de este compendio representan pausas reflexivas acerca de esta praxis y se publicaron entre 2002 y 2012. Lo que unifica temáticamente los artículos y libros en esta tesis es el planteamiento teórico que entiende la educación como un proceso creativo sistémico. La tesis propone una pedagogía para el desarrollo de la ciudadanía creativa. No se enseña a nadie a ser un ciudadano inventivo, pero se pueden generar las condiciones para que sí pueda aprender a serlo. La cuestión principal es aprender cómo ser este tipo de ciudadano. Para ello hace falta plantear el tema de la persona, del proceso, del ambiente y del producto creativo. Es el ámbito educativo el que tiene en sus manos la posibilidad de favorecer la emergencia de la ciudadanía creativa. Es decir, son los espacios educativos los que favorecen que personas y colectivos se tornen capaces de aportar evolución social frente a los retos actuales. Este proceso puede darse a medida que se favorecen acciones e interacciones coherentes con un modo de ser y de pensar el ejercicio de la ciudadanía (ethos creativo). El objetivo de esta tesis es sistematizar la amplitud y diversidad praxiológica en un compendio con sentido más profundo. Para ello, se ha organizado como anexo el compendio de los diez artículos y los dos libros seleccionados, que son representativos de esta diversidad. Esto va precedido de una justificación de 211 páginas, dividida en introducción, desarrollo, discusión general, conclusiones y bibliografía. La introducción explicita la relación conceptual básica. En el desarrollo, son ampliados los ámbitos temáticos que dan unidad al compendio. A continuación, se hace una discusión general sobre los objetivos y los resultados provisionales de esta línea de investigación. Las conclusiones, igualmente provisionales, cierran las reflexiones. Se utiliza la palabra “provisionales” en función del carácter investigativo del tema, que seguramente seguirá en proceso. Antes de la bibliografía, se habla de la proyección de la tesis. Se utilizan mapas mentales para resumir y mostrar el carácter sistémico de las principales ideas y sus conexiones. Estos mapas aparecen en distintas partes del texto, además pueden encontrarse por separado en la web Ciudadanía Creativa que acompaña esta tesis: www.crearmundos.net/tesis/ciudadaniacreativa
This is a Thesis by Publication which seeks to provide a themed unit of ten articles published in referred books and journals as well as two books which result from investigation. These texts which have been published in five countries (Spain, Brazil, Mexico, Argentina and Guatemala) are evidence of a trajectory of research effort that commenced in the 1980’s. The issue which provoked this investigation was the question of creative capacity and its ethical, social and civic potential, applied to education in its broadest sense. Over the years a praxis, which has proposed various practices and ideas, has been created around the possible relationships between these thematic areas. The texts of this compendium represent thoughtful opinions about this praxis and were published between 2002 and 2012. This Thesis proposes pedagogy for the development of creative citizens. It seeks to develop resourceful individuals and groups, capable of creating original "products" through imaginative process in order to create societies which are prepared to face the challenges of the XXI century. It is based on the principle that nobody is taught to be a creative citizen, rather the conditions can be provided to allow them to learn to become one. For this the issue of systemic interaction between the following four basic elements is raised: the person, the process, the environment and the creative product. From this perspective is it the educational field that has the opportunity to favour the emergence of creative citizens. That is, it is the educational environment that encourages individuals and collectives to become enabled to use social evolution against current challenges. This process can become evident as actions and interactions that are coherent with a way of being and thinking on citizenship are favoured (creative ethos). So, the thematically unifying element of this compendium is an understanding of education as a systemic creative process. This Thesis is accompanied by the Ciudadanía Creativa website (www.crearmundos.net/tesis) where the elements of the compendium are expanded with quantitative and qualitative evidence of the projects quoted in the articles.

The discussion of a ‘cultural’ dimension of sustainability has been brought forward in sustainable development and in particular sustainable urban development (SUD) in the last three decades. Despite both an advancement of scientific discourse and advocacy through international organisations, empirical examples discussing explicitly leadership and organisation for implementation of culture in SUD are still rare. Through the lens of leadership and organisation, important questions regarding norms, values and behavior are being addressed that provide the foundation for future development. To advance empirical knowledge in the described field, the thesis takes a look at the city of Malmö in the form of a case study. In Malmö, culture has been assigned an important and all-encompassing role in the city’s organisation and sustainable development plan, manifested through a local policy, the so called ‘Culture Strategy’. This in-depth study aims at understanding the practical application of culture in SUD, given a theoretical framework including the possible roles of culture in SUD and the meanings of creative organisation and leadership in a neoliberal urban context. It is followed by a comprehensive analysis of a range of official documents and eight semi- structured interviews. Asking for the communication of visions and actors’ roles and understandings of culture in relation to practices and organisational structures, the thesis shows that the cultural strategy so far has a dual function as a catalyst and representative for the discussion of culture in SUD. Over-departmentalisation and a lack of communication present hinders for organisational change and the potential of development through learning is not given adequate space and time so far. In conclusion, the municipal organisation must detach from the idea to control, and rather enable ‘spaces’ for diverse actors to collectively employ creativity and allow for an experimental process to unfold.

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UNISINOS - Universidade do Vale do Rio dos Sinos
No contexto urbano da cidade de Novo Hamburgo, surgiram, a partir da obra para implementação da linha férrea em 2014, diversos vazios urbanos ao longo do percurso do trem. Possivelmente devido ao contexto de construção em malha urbana consolidada, espaços que outrora foram funcionais passaram a não ter uso. A população não criou vínculos nem ocupou a área residual formada embaixo dos trilhos. Assim, o objetivo deste trabalho foi o de buscar alternativas para reincorporar estas áreas na cidade e no cotidiano de seus habitantes. O trabalho iniciou com o referencial teórico acerca de conceitos necessários para a compreensão do tema de trabalho, sendo eles: vazios urbanos, cidades criativas, espaço público, mobilidade urbana, direito à cidade e lugar e não lugar. Na sequência, buscaram-se referências de transformações urbanas ocorridas, que pudessem ilustrar as possibilidades de mudança para o município hamburguense. Na continuidade, foi realizada uma pesquisa de campo, através da aplicação de um questionário com o intuito de identificar a percepção da população sobre o uso do espaço. A compilação de todas essas informações resultou em um projeto urbano para a área central da cidade, mais precisamente no entorno da Estação Novo Hamburgo. O princípio norteador deste projeto foi regido pela temática das cidades criativas, por entender-se que esse contexto é adequado à transformação urbana almejada. O resultado deste trabalho é, portanto, uma proposta projetual, passível de mudanças futuras e de continuidade ao longo de toda a extensão da linha férrea.
In the urban context of the city of Novo Hamburgo, Brazil, several vacant spaces emerged as a result of the implementation of an elevated railway track in 2014. Possibly due to its construction in a densely built-up area, spaces that were once functional to the city became useless. The residents did not create ties to this area, nor did they effectively occupy the area under the tracks. Our aim in this thesis is thus to seek alternatives to reintegrate such areas to the city and to the everyday life of its residents. Our thesis begins with a review of the concepts employed to grasp our object of study, including vacant spaces, creative cities, public space, urban mobility, right to the city, place/non place. After that, we reviewed urban interventions in other cities that could inspire an intervention in Novo Hamburgo. Following that, we carried out fieldwork that consisted in a questionnaire with the aim of identifying the residents’ perceptions on the use of space. After compiling all this information, we propose a project for the central area of the city, more precisely the area surrounding the city’s main train station. The guiding principle of this project is the idea of creative cities, which we believe frame the context of the urban transformations we are seeking. The result of our work is thus a proposal for intervention, open to future adjustments and to an extension to the rest of the rail track.

This thesis examines the development of Asian cultural modernity in the cities of Singapore, Hong Kong and Shanghai through their fashion magazines. These three cities have positioned themselves as aspirants to global city status, concurrently facilitating their ambitions by relaxing media laws and emphasising cultural production. One outcome is a growth in the production and consumption of fashion magazines. There has been a parallel growth in the consumption of and interest in fashion and self-adornment in these cities, particularly through global brand names. This thesis investigates these cultural transformations by examining the production of fashion texts in the context of their cities. It does this by utilising the concept of fashion journalism (as a product of fashion, journalism and the city) as a means of identifying the contemporary social, cultural and political articulations of these fashion texts. To do so, this research draws together a framework that takes into account different fields (fashion, journalism, modernity, city, Asia) that contribute to the concept of fashion journalism, thereby approaching fashion texts through a multi-disciplinary perspective anchored by establishing the contexts of each city and its specific magazine. The subsequent analyses of Vision (Shanghai), WestEast (Hong Kong) and Harper's Bazaar Singapore reflect and capture an evolution of these cities coming into their own. With particular emphasis on the cultural assertions of global Chinese identities in WestEast, an escape from national discourses through participating in cosmopolitanism in Harper's, and the emphasis on popular visual culture as a form of popular literacy and knowledge formation in Vision. These findings contribute firstly, towards an understanding of the issues occurring in the cultural modernisation of these cities and secondly, of fashion journalism as a promoter of the experiences of cultural modernity in Asia.

This thesis examines the development of Asian cultural modernity in the cities of Singapore, Hong Kong and Shanghai through their fashion magazines. These three cities have positioned themselves as aspirants to global city status, concurrently facilitating their ambitions by relaxing media laws and emphasising cultural production. One outcome is a growth in the production and consumption of fashion magazines. There has been a parallel growth in the consumption of and interest in fashion and self-adornment in these cities, particularly through global brand names. This thesis investigates these cultural transformations by examining the production of fashion texts in the context of their cities. It does this by utilising the concept of fashion journalism (as a product of fashion, journalism and the city) as a means of identifying the contemporary social, cultural and political articulations of these fashion texts. To do so, this research draws together a framework that takes into account different fields (fashion, journalism, modernity, city, Asia) that contribute to the concept of fashion journalism, thereby approaching fashion texts through a multi-disciplinary perspective anchored by establishing the contexts of each city and its specific magazine. The subsequent analyses of Vision (Shanghai), WestEast (Hong Kong) and Harper's Bazaar Singapore reflect and capture an evolution of these cities coming into their own. With particular emphasis on the cultural assertions of global Chinese identities in WestEast, an escape from national discourses through participating in cosmopolitanism in Harper's, and the emphasis on popular visual culture as a form of popular literacy and knowledge formation in Vision. These findings contribute firstly, towards an understanding of the issues occurring in the cultural modernisation of these cities and secondly, of fashion journalism as a promoter of the experiences of cultural modernity in Asia.

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A globalização aparece hoje como um processo que permeia as mais diversas relações e contextos, influenciando as dinâmicas sociais, econômicas e culturais. Nesse cenário, fenômenos como a hibridação cultural proposta por Canclini e a compressão tempo-espaço exposta por Bauman aparecem influenciando as dinâmicas que nos envolvem. Como resultado das ações de todos esses processos, surgem alterações na lógica da construção de identidades, bem como na lógica de consumo, onde tais relações acabam acarretando em esvaziamentos dos territórios, (vistos como extensão das identidades e possuindo identidades próprias), e transformação destes em mercadorias. Nesse contexto surge o conceito de Cidades Criativas, que será discutido como a base desta pesquisa. Compreendido tal conceito, cenários para a cidade de Porto Alegre serão construídos e, a partir de uma lógica do design, se dará a reflexão que é o objetivo desta pesquisa: pensar Porto Alegre, através de uma ótica do design, no contexto das Cidades Criativas, gerando uma atualização deste conceito trazido para a área do design.
This research comes from the acknowledgment of globalization's actual stage that today seems to be a process that permeates the most complex relations and contexts, influencing the social, economical and cultural dynamics. As consequence of this process, phenoms such as the cultural hybridisation proposed by Canclini and the compression of time and space exposed by Bauman appear, altering the territorial dynamics, generating the emptying and retaking of territories, represented by the concepts of deterritorialization and reterritorialization. In this context of emptying cities, this research focuses on the comprehension of the concept of "creative cities" as a device of territorial valorization, reinventing and innovating the cities from their very own crises. The objective is to verify in the context of the studied project aspects of the strengths and weaknesses for the supplying of means so that the city of Porto Alegre can project as a creative city. The methodological approach happens through strategic design, understanding projective factors capable of evincing a creative logic for cities. As an empirical study, a case study was developed about “PortoAlegre.cc” project. This project is an initiative made in the city of Porto Alegre that furthers the participation of the population on the search for solutions of the city's problems. The analysis and discussion of the case happens through the methodology of scenario building oriented by design and complements itself in an experiment. The results point that “PortoAlegre.cc” project, while still not being able to supply the needed conditions to start a process of articulating the city as a creative city, is a fundamental initiative that represents a change in mentality about the process of co-creating a city.

Проведене дослідження базується на системному підході, який дозволяє розглядати архітектурне середовище малих міст України з точки зору питання організації комфортного середовища, з залученням засобів середовищного дизайну, одним із яких виступає монументально-декоративна скульптура. Розглянуто взаємозв'язок монументально-декоративної скульптури з архітектурним середовищем в структурі малих міст. Визначено підходи при встановленні пам'ятника чи монумента, обумовлених містобудівною ситуацією. Проведено порівняльний аналіз складних містобудівних ситуаціїй, їх активність в просторово-пластичному сенсі з створенням штучного "мікроансамбля", характерного для містобудівної ситуації малих міст.
The approaches to establishing a monument or a monument caused by a city-planning situation are determined. A comparative analysis of complex city-planning situations is carried out on their activity in the spatial-plastic sense with the creation of an artificial "micro-assembly" characteristic of the town-planning situation of small cities. The area of the city for the establishment of the sculptural composition is determined, the relationship of monumental and decorative sculpture with the architectural environment in the structure of small cities for the organization of a comfortable environment, and the possibilities of providing an individual image of a small city by means of design and sculpture are considered.

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 101-105).
In this thesis, I compare workforce development planning in Lawrence and Lowell, Massachusetts, two of the state's older industrial "Gateway" cities. I specifically examine local planning processes around job creation in the clean technology (clean tech) sector. Contradicting the notion of the cities as "urban twins," I find that Lawrence's original physical and social design led to a pattern of economic disinvestment and a deficit of municipal planning capacity compared to Lowell. Today, Lawrence experiences the resulting disadvantage when it competes with Lowell for clean tech economic development funds. I argue that state and federal policymakers should recognize critical differences that exist among even the seemingly most similar communities and implement strong, place-based programs so that investments in green workforce development do not perpetuate the historic inequities that cities such as Lawrence face. I conclude by proposing a networked planning strategy that, with stimulus from the state and federal governments, could help Lawrence and Lowell to leverage more effectively and collaboratively their respective assets in support of a regional green economy.
by Marianna Leavy-Sperounis.
M.C.P.

Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed August 6, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.

Smart cities are seen as the answer for specific problems, that we will face in the future: overpopulation, shortage of resources, demographic change, etc. At the same time more people than ever will live in cities. This creates huge difficulties for governmental institutions on the one side, but also profit promising opportunities for companies on the other. This thesis will have a close look at this tension and unpack the vision of the smart cities, as they are created with the help of integrators and service companies. Through the lens of Critical Design, it will result in a fictional artifact to trigger the imagination and a debate about a possible future in which corporate interests changed the relationship between the city and its citizens.

Yonkman and Bridgeland (2009) and Nesbit (2011) have each offered studies in recent years in which military veterans reported possessing skills and values that facilitate civic engagement. I investigated these claims by exploring basic training in one branch of the United States (U.S.) military, the Marine Corps. I conducted semi-structured, in-depth interviews with 10 enlisted Marine Corps veterans and 7 drill instructors to ascertain their perceptions regarding the didactic aspirations and pedagogies of their service's basic training related to skills and values development. I utilized a civic capacities model developed by Verba, Schlozman, and Brady (1995) and Kirlin (2003) to examine whether Marines' entry training could be classified as civic in character. According to this study/s participants, Marine Corps Basic Training did teach skills and values that qualify as civic dispositions. I also explored several pedagogical strategies utilized by the Marines, such as learning communities, role modeling, narrative pedagogy and the use of a capstone exercise, which could be applied by civic educators. Topics for future research of the sort undertaken here include both national and international comparative studies of entry-level military training, the effects of combat on veterans' civic dispositions and whether and how community involvement can aid in veterans' transitions to civilian life.
Ph. D.

As an emerging democratic country, Indonesia faces notable challenges in building harmony and peace in its multicultural society. Many scholars have argued that educational institutions including pesantren can play a crucial role in addressing those challenges. More specifically pesantren citizenship education has the potential to create citizens who can address the potential challenges of multicultural societies. The primary aim of this study was to investigate conceptions of citizenship education; curriculum design for citizenship education; and the delivery of that curriculum in three types of Indonesian pesantren. While multiple case study and phenomenography were used as research design, Bronfenbrenner’s (1979) Ecological Systems Theory was employed as theoretical framework. This study found that the conceptions of citizenship education were similar across pesantren. Distinct curriculum design for citizenship education was found in each pesantren, reflecting differences in attributes within the referential and structural aspects of the citizenship education conceptions across pesantren. However, each pesantren had a similar combination of formal, informal and hidden curricula. This model of curriculum was integrated into the pesantren’s environmental factors. Similar pedagogy was found in the delivery of the formal curriculum. Regarding the delivery of informal and hidden curriculum, the unique system of pesantren facilitated a more intricate curriculum implementation than is possible for other models of school. One implication of this study is that religious citizenship education could be considered an alternative for Indonesia in addressing the challenges of a multicultural society. Also, educational institutions aiming to employ a comprehensive approach to their citizenship education might consider an ecological model of pesantren-based citizenship education as a reference.

The city today is progressively conceptualized by using terms, such as Creative Cities or Creative Class and stressing the importance of Creativity. Lisbon is here in focus, considering the implementation of the ideas behind the Creative City concept by Richard Florida and Charles Landry, as well as the critical responses from the cultural sector. “Creativity” in this context refers to the elaboration of new ideas and to the application of these ideas to produce original works of art and cultural products, and technological innovations. Furthermore does this thesis reveal the impact of changes made socially and physically based on examples in the metropolitan area of Lisbon. Moreover is the focus on the work of cognitive-cultural employees in the Creative City and beyond, because the idea of creativity in the workplace offers opportunities for urban development and the personal development of urban inhabitants. This will be developed through a critique of the literature and some illustrative examples of people with creative occupations or by highlighting different location in Lisbon. The focus to change urban spaces lays in a deeper understanding of how “creativity” is constructed and performed in specific urban contexts in order to be sustainable.

The phenomenon of globalization and the need to combat the harmful effects of the recent financial and economic crisis associated with rapid urban development and stagnant economic growth in countries/regions/cities seen in the last decade worldwide, has led to a paradigmatic change in the view of cities’ role in urban economic development. This profound change means that cites are faced with a complex and enormous challenge, set out in the European Union’s 2020 Strategy based on the premises of long-term intelligent, inclusive and sustainable economic growth. However, these premises imply that models of economic growth and their traditional determining factors are altered, and so development of the so-called new economy is in evidence. This means that the new economy proposed by the European Union, besides being based on traditional factors generating economic growth, has come to include a new own resource, the intangibility and soft and hard amenities of urban places, or cities, as factors associated with cities’ urban economic development. The changes in regional and public policies linked to repositioning cities have aroused great interest in the academic world and in other public and private agencies, leading to the emergence of countless constructs, concepts and models aiming to contribute to understanding of this global phenomenon. In this context, the concepts of creativity, intelligence and urban sustainability, as inseparable dimensions of cities, have gained relevance in studies on cities, particularly regarding their measurement. Consequently, a series of models and indices have been developed aiming to answer the question of how to assess cities’ performance around these dimensions. This proliferation of studies has not exhausted the topic, as gaps remain to be filled, particularly those involving great complexity by interlinking various constructs such as urban networks, besides creativity, intelligence and urban sustainability in cities. In this scenario, the general aim of the research presented here is to propose a holistic, multidimensional model for Current Creative Cities (CCCs) and its empirical validation through constructing a Composite Index for their holistic performance. The broad spectrum of this objective is clear, and so it was divided in six specific objectives, namely: 1) to map the most studied topics concerning networks and the performance of creative cities, through a bibliometric analysis; 2) to present a proposal of a multidimensional design for CCCs and the respective indicators to measure their performance; 3) to validate empirically the model proposed for each dimension proposed per se, and subsequently, for all the dimensions of the holistic model as a whole; 4) to demonstrate that networks are predictors of CCCs’ holistic performance; 5) to propose a taxonomy for the holistic performance of CCCs and 6) to analyse the effect of living labs on the economic growth of CCCs. 5) to propose a taxonomy for the holistic performance of CCCs; To respond to these aims a mixed research methodology was adopted, since quantitative and qualitative approaches complement each other, particularly concerning internal and external validity, using different research techniques of a deductive and inductive nature, as explained below. In Chapter 2, responding to the first objective, the bibliometrics revealed the most studied topics, besides exponential interest in studying creative cities and networks together. It was also clarified that creativity can be associated with intelligence and urban sustainability in CCCs, that there is still a need to construct a holistic, transversal model for these dimensions, and that this should allow measuring performance and the effect of networks on this. The result obtained in this study directed the research to Chapter 3, i.e., to the second aim established, and so a multidimensional, holistic model is presented to measure CCCs’ holistic performance. With the answers to the first objectives defined, Chapters 4, 5, 6 and 7 aim to provide the response to the third and fourth objectives, presenting individual Composite Indices and for the Holistic Performance of CCCs, obtained through multivariate statistical techniques – Exploratory Factor Analysis (EFA) and Principal Components Analysis (PCA). These indices were validated empirically in Portugal. The results obtained and their discussion revealed that strategies directed to implementing creative, intelligent and sustainable measures are visible in economic growth in Portugal, despite the need to continue to develop and spread the structural and conjunctural bases through public policies aiming to overcome persisting weaknesses. Therefore, the methodological tool presented here is a bonus for local authorities and their public policies. The demographical, spatial and territorial variations of Portuguese towns and cities led to developing a taxonomy of their holistic performance, to respond to the fifth objective defined by using Hierarchical Cluster Analysis, presented in Chapter 8. The results show that improved holistic performance is only achieved when taking all the axes/dimensions of CCCs as a synergetic whole and as a cyclical consequence rather than per se. Finally, these results were complemented in Chapter 9 (sixth objective) by the case study method applied to the town of Fundão, which demonstrated it is not enough to activate the means for citizens to be dynamic actors in improved holistic performance, as current public policies must be strategically managed and promoted by reducing the financial costs involved. The studies presented here allowed presentation of a Composite Index for the Holistic Performance of Portuguese towns and cities, which with the due adaptations to the context analysed can be applied generally. This instrument forms the main contribution of this research, which is of an innovative and relevant nature by being based on urban networks as inductors and catalysts of improved urban economic growth in cities/local authorities. It is also shown that when cities include networks in their public policies, the intangible returns obtained benefit their holistic performance indirectly. Finally, Chapter 10 describes the limitations of the studies presented and makes general conclusions and contributions with implications for theory and practice.
O fenómeno da globalização e a emergência de se contornar os efeitos nefastos da recente crise financeira e económica associados ao rápido desenvolvimento urbano e à estagnação do crescimento económico dos países/regiões/cidades a que se assistiu na última década em todo o mundo, originou que a visão do papel das cidades no desenvolvimento económico urbano fosse alterada de modo paradigmático. Esta alteração profunda significa que atualmente as cidades estão perante um desafio complexo e enorme, o qual se consubstanciou na Estratégia 2020 da União Europeia que assenta nas premissas de um crescimento económico inteligente, inclusivo e sustentável a longo prazo. Contudo, estas premissas implicaram que os modelos de crescimento económico e que os seus fatores determinantes tradicionais fossem alterados, pelo que se tem assistido ao desenvolvimento da denominada nova economia. Isto significa que a nova economia preconizada pela União Europeia, para além de assentar nos fatores tradicionais geradores de crescimento económico, passou a incluir um novo recurso próprio, a intangibilidade e as amenidades soft e hard dos lugares urbanos, vulgo cidades, como fatores associados ao desenvolvimento económico urbano das cidades. As mudanças das políticas económicas regionais e públicas ligadas ao reposicionamento das cidades despertou um elevado interesse no meio académico e em outras agências públicas e privadas, pelo que surgiram inúmeros construtos, conceitos, modelos que visavam contribuir para a compreensão desse fenómeno global. Neste contexto, os conceitos de criatividade, de inteligência e de sustentabilidade urbana, enquanto dimensões indissociáveis das cidades, ganharam relevância nos estudos sobre cidades, particularmente no tocante à mensuração da sua performance. Por conseguinte, uma bateria de modelos e de índices têm sido desenvolvidos visando responder à questão de como avaliar a performance das cidades em torno destas dimensões. Esta proliferação de estudos não esgotou a fertilidade desta temática, pela que ainda persistem lacunas por colmatar, em particular aquelas que envolvem elevada complexidade ao interligarem vários construtos, como as redes urbanas, para além da criatividade, inteligência e sustentabilidade urbana nas cidades. Neste cenário, o objetivo geral da investigação aqui apresentada passa pela proposta de um modelo holístico e multidimensional para as Currents Creative Cities (CCCs) e a sua validação empírica através da construção de um Índice Compósito para a performance holística das mesmas. É clarividente o largo espectro deste objetivo, pelo subdividiu este em seis objetivos específicos a saber: 1) Mapear as temáticas mais investigadas sobre as redes e a performance das cidades criativas, através de uma análise bibliométrica; 2) Apresentar uma proposta de desenho multidimensional para as CCCs e respetivos indicadores para a mensuração da performance das mesmas; 3) Validar empiricamente o modelo proposto para cada uma das dimensões propostas per si e, posteriormente, para o conjunto da todas as dimensões de modo holístico; 4) Demonstrar que as redes são preditores da performance holística das CCCs; 5) Propor uma taxonomia para a performance holística das CCCs; e 6) Analisar o efeito que as living labs têm no crescimento económico das CCCs. Para dar resposta a estes objetivos seguiu-se uma metodologia de investigação mista, uma vez que a abordagem quantitativa e qualitativa são complementares uma da outra, nomeadamente no tocante à validade interna e externa, em que se utilizaram diferentes técnicas de investigação de natureza dedutiva e indutiva, como explicado a seguir. Assim, o capítulo 2 responde ao primeiro objetivo, a bibliometria revelou os tópicos mais estudados, para além de um interesse exponencial em estudar as cidades criativas e as redes em conjunto. Também se clarificou que a criatividade é passível de associação à inteligência e à sustentabilidade urbana nas CCCs, que persiste a urgência de se construir um modelo holístico e transversal a estas dimensões e que possibilitem que se mensure a performance e o efeito das redes nessa. Assim, a resposta obtida neste estudo direcionou a investigação para o capítulo 3, ou seja, para o segundo objetivo estabelecido, pelo que se apresenta um modelo multidimensional e holístico para a mensuração da performance holística nas CCCs. Ainda com a resposta aos primeiros objetivos definidos, os capítulos 4, 5, 6 e 7 visam ilustrar a resposta aos terceiro e quarto objetivos, em que se apresentaram Índices Compósitos individuais e para a Performance Holística das CCCs, obtidos pelo uso de técnicas estatísticas multivariadas – Análise Fatorial Exploratória (AFE) e Análise dos Componentes Principais (ACP). Estes índices foram validados empiricamente em Portugal. Os resultados obtidos e a sua discussão revelaram que as estratégias direcionadas para a implementação de medidas criativas, inteligentes e sustentáveis são visíveis no crescimento económico em Portugal, porém ainda urge que se continue a germinar e disseminar as bases estruturais e conjunturais através de políticas públicas que visem ultrapassar as fragilidades que ainda persistem. Deste modo, a ferramenta metodológica aqui apresentada é uma mais valia para os municípios e suas políticas públicas. A disparidade demográfica, espacial e territorial das cidades em Portugal induziu ao desenvolvimento de uma taxonomia de performance holística para as mesmas, dando resposta ao quinto objetivo definido pela utilização da Análise Hierárquica de Clusters (AHC), apresentado no capítulo 8. Os resultados mostram que as melhorias na performance holística só são conseguidas quando se encaram todos os eixos/dimensões das CCCs como um todo sinérgico e como uma consequência em ciclo e não per si. Por último, estes resultados foram complementados no capítulo 9 (sexto objetivo) pelo método de estudo de caso aplicado à cidade do Fundão, o que possibilitou que se demonstrasse que não basta acionar os meios para que os cidadãos sejam atores dinâmicos na melhoria da performance holística, pois é premente que as atuais politicas públicas sejam estrategicamente geridas e alavancadas pela redução dos encargos financeiros afetos a essas politicas. Os estudos aqui apresentados possibilitarem a apresentação de um Índice Compósito para a Performance Holística das cidades portuguesas, que com as devidas adaptações ao contexto em análise é passível de aplicação generalizada. Este instrumento constitui o principal contributo desta investigação e que assume um carácter inovador e pertinente ao ter como pedra basilar as redes urbanas como indutoras e catalisadoras da melhoria do crescimento económico urbano das cidades/municípios. Mostra-se ainda que as cidades que integram as redes nas suas políticas públicas obtêm retornos intangíveis que indiretamente beneficiam a sua performance holística. Finalmente, no capítulo 10 são explanadas as limitações dos estudos apresentados e tecidas as conclusões gerais e outros contributos com implicações para a teoria e para a prática.

碩士
中原大學
商業設計研究所
97
Abstract The Universal economics have been changed, there have been many cities in the word start out to pay attention to the culture and creativities, to develop the economics and city brand. The concept of the creative cities is appearing. The city image helps the developing of creative cities and the city tourism industry. The city image on the official tourism websites also influence how the travelers think about the city. The Research goals: 1) To analysis the city official tourism websites to realize the city image; 2) To analysis the Visual characteristics of the International creative cities official tourism websites, and provide our country on develop city marketing and tourism activities. This content of the paper is the official tourism websites of four cities: London, New York, Tokyo and Taipei. There are four results in this paper. First, there is much data in London website. The structure of the London website is complete, and the image is balance, stable and natural. Second, the color of New York website is bold. It makes the contrast of the yellow and blue and black and white is large. The image is bold, bustling and positive. Third, the layout of Tokyo website is the form of center. It causes the effect of stable and balance. Although the image of Tokyo website is traditional, but it emphasizes the image show of pure, natural and simple. That is a great style of city. Finally, the special color of the Taipei website is magenta, which shows fashion and modern. The black color shows mystery and luxury such as nightlife. The animation also makes the website user feel amazing by eyes and ears. In summary, this paper is able to promote the developing of creative cities and the city tourism industry.

碩士
中原大學
企業管理研究所
102
Development of cultural and creative city, it needs to have the relevant elements of the cultural and creative, which includes the resources of city's history and culture, the city atmosphere of inclusive multicultural, urban residents respecting and cognizing their unique culture, urban residents lifestyle with common values and consensus, the associated infrastructure to attract creative talent pool, and a variety of opportunities for the development of cultural and creative industries, etc. Through continuous excavate the culture content and enhance the culture convergence of the city's relevant elements, while effectively disseminate the city's cultural and creative products. Then, through government, proposed a series of policies to support and lead the effect. It will promote to enhance the city’s cultural influence, besides, the city cultural uniqueness can be further promote to international, bringing great helpful for city, residents and businesses. The study aims to discuss the five China’s culture and creative cities in the UNESCO Creative Cities Network and it also divide into three types of creative cities network and two levels of cities. Besides, the study also explores the relationship among Culture Content, Culture Convergence and Culture Influence. According to the literature review, the study selected related variables which are （1）resources intension, atmosphere intension, and quality intension；（2）cultural consensus, cultural integration, and cultural toleration；（3）cultural radiation, cultural penetration, and cultural attraction. This research adopts a questionnaire survey which collected 256 effective questionnaires. This research explores the relationship among Culture Content, Culture Convergence and Culture Influence of five China’s culture and creative cities. It can find that：（1）The degree of “Culture Content” and “Culture Convergence” has obvious relevance；（2）The degree of “Culture Content” and “Culture Convergence” will affect “Culture Influence”；（3）Different types of Creative Cities Network were no significant differences in the degree of “Culture Content”, “Culture Convergence” and “Culture Influence”；（4）Five China’s culture and creative cities are significant differences in the degree of “Culture Content” and “Culture Convergence”；（5）Different city levels are significant differences in the degree of “Culture Content” and “Culture Convergence”.