Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-22T16:19:33Z No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-25T11:41:29Z (GMT) No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-25T11:41:29Z (GMT). No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-22 / 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.

The master degree project presents design of conversion and extension of an old former prison situated between the streets Cejl, Soundni and Bratislavska for cultural, commercial and manufacturing purposes and forming multifunctional cultural center. The proposal consists of the conversion of two floors of existing building on the street Soudni, demolition of additional building on the street Bratislavska, while the additional building on street Cejl is belonging to other owner and will remain in existing status. Before the new building it is created a small square, that connects new and old building and the surroundings. Main goal is to create center for “creative” specialization, in which will be placed as working (studio, offices, conference hall) and performing spaces, but there also will be residential part (hostel and renting flats). Main purpose – create interesting space for collaboration of creative professions and to create the new cultural center.

In this research, the “Smart City-edifice” of Lisbon has been examined through qualitative field work carried out in the city. The concept of the Smart City- edifice has been designed by the author in an attempt to grasp the ambiguous Smart City ambition as an assemblage of (i) specific techniques incorporated into the urban environment (ii) the modes of governance which these techniques allow for, particularly real time data collection & (iii) issues of city branding, placemaking and urban, Smart regeneration. The highlighted empirical material has been produced in collaboration with interlocutors from three different projects, and relate to the three different facets of the Smart Cityedifice: A developer of a gamification scheme (e-governance), a sustainable neighbourhood project (Tech-driven sustainability and governance/civic participation) and lastly a creative hub (branding, creativity & regeneration). These facets are being examined in the context of Lisbon, a city which has gone through a re-formulation of urban agendas in the capitalist restructuring of the economy in the wake of the 2008 financial crisis. The post-crisis strategy in Lisbon is interpreted as a sort of “attraction hysteria” (Anttiroiko, 2014), as much effort has been placed on attracting global capital and tourism, incentivised not least by a liberalized, profitable housing market. This attraction hysteria is understood by the author as producing specific implications for the development of the Smart Cityedifice. Main findings include the hinderances that said politics have produced for ambitions of civic participation and other democratic visions of the Smart City. These findings are understood in the light of the Lefebvrian framework of the “right to the city” and critical understandings of the touristified city. The field work itself has been guided by two key research questions, these being: a) How are Smart City narratives being operationalized locally by actors in Lisbon? B) What possible tensions could arise between Smart aims of global urban competitiveness and aims of civic participation, in the context of Lisbon?

The formation of creative industries in post-industrial cities is becoming especially important every year. The development of creative industries and creative economy is the engine of modern cities that can transform the urban space, and use the creative potential of citizens properly. The conducted sociological research has revealed a discourse of creativity - dimensions that allow to analyze the place of creativity in the space of Ekaterinburg. The directions of creative spaces of the city are developed, which reflect the specificity of interactions of creative industries in the space of Ekaterinburg. / Формирование креативных индустрий в постиндустриальных городах с каждым годом приобретает особую актуальностью. Развитие креативных индустрий и креативной экономики является двигателем современных городов, способных преобразовывать городское пространство, и правильно использовать творческий потенциал горожан. Проведённое социологическое исследование выявило дискурс креативности – измерения, которые позволяют проанализировать место креативности в пространстве Екатеринбурга. Разработаны направления креативных пространств города, которые отражают специфику взаимодействий креативных индустрий в пространстве Екатеринбурга.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-01-30T17:17:16Z No. of bitstreams: 1 KELEM CHRISTINE PEREIRA JORDAO.pdf: 4120546 bytes, checksum: e2df721fc88d77da909d4f7f6eb692f6 (MD5) / Made available in DSpace on 2017-01-30T17:17:16Z (GMT). No. of bitstreams: 1 KELEM CHRISTINE PEREIRA JORDAO.pdf: 4120546 bytes, checksum: e2df721fc88d77da909d4f7f6eb692f6 (MD5) Previous issue date: 2016-12-06 / Pontif?cia Universidade Cat?lica de Campinas ? PUC Campinas / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The United Nations reports that the eradication of poverty in all its forms and dimensions, corresponding to the highest today's global challenge and it is an essential requirement for the development of any nation, whether in developed or developing countries. To contextualize this scenario within the urban territory in the search for its applicability, it is identified that the higher the existing socioeconomic differences, the greater the obstacles to build smart cities. The result of this type of scenario corresponds to territories that are continually prevented from transform and develop fully. In this context, the research project aims to present a diagnosis of Brazilian cities, through the analysis of a set of indicators that reflect the level of development on the issue, considering the diversity of issues present in this context, such as infrastructure urban, different levels of socioeconomic development, sustainability, among others, set up a problem where multiple and diverse criterion are presented. The method used came from the development of a smart city model applied to the Brazilian reality, designed by the intersection of the concepts of digital city, sustainable and creative, and additionally by the World Bank's view that stimulates social and economic growth of developing cities through investments in telecommunications. Through this proposed model, it comes on the establishment of indicators that once analyzed together, will know the reality and the potential of municipalities and assist managers in decisionmaking to drive the transformation of their cities. Also, enable grouping the municipalities in sets per their equivalent investment needs, and therefore essential information for the design of government programs for the massification of the development of smart cities. / A Organiza??o das Na??es Unidas relata que a erradica??o da pobreza em todas as suas formas e dimens?es, corresponde ao maior desafio global da atualidade e trata-se de requisito indispens?vel para o desenvolvimento de qualquer na??o, sejam em pa?ses desenvolvidos ou em desenvolvimento. Ao se contextualizar esse cen?rio dentro do territ?rio urbano na busca por sua aplicabilidade, identifica-se que quanto maior as discrep?ncias socioecon?micas existentes, maiores ser?o os obst?culos para se construir cidades inteligentes. O resultado desse tipo de cen?rio corresponde a territ?rios que continuamente est?o impedidos de se transformarem e se desenvolverem plenamente. Neste contexto, o projeto de pesquisa tem como objetivo apresentar um diagn?stico das cidades brasileiras, atrav?s da an?lise de um conjunto de indicadores que reflitam o seu grau de desenvolvimento na tem?tica, considerando-se que a diversidade de quest?es presentes nesse contexto, tais como infraestrutura urbana, sustentabilidade, diferentes n?veis de desenvolvimento socioecon?mico e cultural, dentre outras, configuram uma problem?tica em que v?rios e diversificados crit?rios se apresentam. O m?todo utilizado partiu da elabora??o de um modelo de cidade inteligente aplicado a realidade brasileira, concebido pela intersec??o dos conceitos sobre cidade digital, sustent?vel e criativa, e adicionalmente pela vis?o do Banco Mundial em estimular o crescimento socioecon?mico das cidades em desenvolvimento atrav?s de investimentos em telecomunica??es. Por meio desse modelo proposto, chega-se na constitui??o de indicadores que uma vez analisados conjuntamente, permitir?o conhecer a realidade e a potencialidade dos munic?pios e auxiliar gestores na tomada de decis?o para conduzir a transforma??o de suas cidades. Possibilitar? tamb?m o agrupamento desses munic?pios em conjuntos conforme as suas necessidades equivalentes de investimentos, sendo, portanto, informa??o essencial para o delinear de programas governamentais para a massifica??o do desenvolvimento das cidades inteligentes brasileiras.

Depuis ses débuts, l’industrie hollywoodienne utilise des stéréotypes dépréciatifs des Latinos pour construire une série de personnages menaçants qui cristallisent les peurs de la société américaine. Cette recherche se concentre sur le festival de cinéma latino Cine Las Americas (Austin, Texas) et questionne les stratégies explicites et sous-jacentes mises en œuvre pour déconstruire ces stéréotypes. Dans un premier temps, il s’agit de faire émerger les phases qui ont permis à Cine Las Americas de s’institutionnaliser entre 1998 et 2017. En se concentrant sur une année type (2012), la recherche met également en lumière la synergie avec Austin, ville créative « excentrique » (weird) de façon à montrer en quoi elle est un terrain fertile pour le festival. Elle place également Cine las Americas dans le contexte historique des festivals de films latinos pour en comprendre l’émergence au tournant du millénaire et les spécificités. Dans un deuxième temps, après avoir fait un état des lieux des stéréotypes latinos véhiculés par Hollywood et des stratégies cognitives utilisées pour les construire, le contenu des films des quinze premiers festivals (1998-2012) est analysé dans le but de mettre en évidence les contre-stéréotypes correspondants, notamment à travers l’image du migrant, figure centrale d’un groupe de films sur la frontière. L’analyse fait émerger les thèmes fédérateurs, les contre-récits et questionne l’héritage Chicano de Cine Las Americas. Dans un dernier temps, la thèse s’intéresse à la place de Cine Las Americas dans les réseaux transnationaux et locaux de ses débuts à 2017. Il s’agit de déterminer comment les films « des Amériques » sont utilisés pour articuler la mission anti-stéréotype et faire émerger la figure collective des Indigènes, démontrant ainsi comment Cine Las Americas est devenu un « événement configurateur de champ » (Field-Configuring Event). Cette stratégie confirme le rôle moteur d’Austin et permet de voir les organisateurs comme des diplomates culturels. / From the beginning, Hollywood has used disparaging stereotypes about Latinos to create a series of threatening characters that give shape to the fears of the American society. This research focuses on the Latino film festival Cine Las Americas (Austin, Texas) and questions the explicit and underlying strategies used to deconstruct such stereotypes. First, the study analyzes the different phases that have allowed Cine Las Americas to become an institution between 1998 and 2017. The research also highlights the synergy with the city of Austin, « weird » Creative City, to show how it represents a fertile ground for the festival. It also situates Cine Las Americas in the historical context of Latino film festivals in order to understand their emergence at the turn of the millenium and their specificities.Second, after going over the Hollywood stereotypes about Latinos, the content of the movies from the first fifteen festivals (1998-2012) is analyzed to shed light on the corresponding counter-stereotypes, especially through the image of the migrant, the central figure of the movies about the border. The analysis sheds light on the unifying themes and the counter-narratives and questions Cine Las Americas’s Chicano heritage. Last, the research seeks to consider Cine Las Americas’s position in international and local networks from the beginning to 2017. It seeks to determine how the movies from « the Americas » are used to implement the anti-stereotype mission and to bring forth the collective figure of the Indigenous people, thus demonstrating how Cine Las Americas has become a Field-Configuring Event (FCE). This strategy confirms Austin’s driving force and portrays the organizors as cultural diplomats.

S’appuyant sur l’effervescence dont fait actuellement l’objet le terme de scénographie dans le milieu créatif, ce travail propose d’étudier l’apparition d’une fonction spécifique autour du concept de scénographie urbaine dans la fabrique de la ville contemporaine. En effet depuis les années 1980, dans un contexte d’essor de la ville événementielle, créative et culturelle nous assistons à une multiplication de propositions artistiques éphémères déployant des dispositifs scénographiques dans l’espace public qui font évoluer les modes d’action des acteurs de la fabrique urbaine (opérateurs culturels, artistes, gestionnaires publics et aménageurs). Entre théâtre et espace public, scène et ville, nous retracerons les origines de la scénographie pour ensuite s’intéresser à la scène nantaise qui est ici considérée comme un laboratoire des différentes formes que peut prendre la scénographie urbaine. En définissant le rôle du scénographe sur un terrain d’intervention spécifique, à savoir l’espace urbain, il s’agit par-là d’identifier un groupe professionnel émergent, les scénographes, au regard de l’évolution de leurs pratiques hors du théâtre. Puis, en resserrant la focale sur un territoire, nous caractérisons plus particulièrement la fonction de scénographie urbaine dans son acception contemporaine traduisant une évolution de la place de la création artistique dans la fabrique urbaine. Plus largement, cette étude met en question la production d’espaces urbains, révélatrice de tension entre nécessité fonctionnelle et conception d’espaces sensibles. Entre fabrique artistique et dynamique de récupération, ce travail nous renseigne sur un mode de faire la ville contemporaine à l’interface entre urbanisme du divertissement et utopie artistique. / Based on the current effervescence of scenography in the creative environment , this work proposes to study the appearance of a specific function around the concept of urban scenography in the fabric of the contemporary city. Since the 1980s, in a context of the development of event, creative and cultural city, we are witnessing a multiplication of ephemeral artistic proposals deploying scenographic devices in the public space that evolve modes of action of the actors of the urban factory (cultural operators, artists, public managers and developers). Between theater and public space, stage and city, we will trace the origins of the scenography and then take an interest in the Nantes scene, which is considered here as a laboratory of different forms that can take urban scenography. Infact, in urban space, it is an identifying an emerging professional group, the scenographers, about the evolution of their practices outside the theater. Then, by tightening the focus on a territory, we characterize more specifically the function of urban scenography in its contemporary meaning reflecting an evolution of the place of artistic creation in the urban factory. A larger scale, this study calls into question the production of urban spaces, revealing tension between functional necessity and the conception of sensitive spaces. Between artistic and dynamic recovery, this research informs us about an embodiment of the contemporary city at the interface between town planning of entertainment and artistic utopia.

Cette thèse étudie les enjeux et processus de création de lieux intermédiaires (friches culturelles, tiers-lieux) dans le contexte spécifique de la Belgique des années 1970. Dans une situation de revendications sociales, culturelles et artistiques et de luttes urbaines, alors que le pays est en plein chantier institutionnel conséquemment à la première révision de la Constitution, de nouveaux acteurs réclament leur place dans la cité et leur droit à la ville. Les études sur les lieux intermédiaires se multiplient depuis vingt ans en lien avec les enjeux d’aménagement du territoire. L’état de l’art révèle que tandis que les géographes, urbanistes et sociologues investissent des lieux contemporains pour analyser à quelles dynamiques territoriales – et plus spécifiquement urbaines – ils participent, les historiens de l’art et du théâtre rédigent des monographies sur l’invention de ces nouveaux espaces et sur leurs enjeux et effets dans le monde de l’art.En étudiant, à l’aide de fonds d’archives actuellement non traités et de l’histoire orale, trois lieux intermédiaires fondés en Belgique durant les années 1970 – les Halles de Schaerbeek, le Cirque Divers et la Raffinerie du Plan K – cette thèse propose d’articuler ces deux démarches en montrant comment, par l’esthétique, les choix d’aménagement et les modes de sociabilité développés dans ces lieux, ces derniers élaboraient un imaginaire urbain spécifique, participaient à l’expérience de la cité et s’inscrivaient dans le monde de l’art.La mise en place de ces infrastructures constituait une solution spatiale qui devait permettre de développer de nouvelles pratiques artistiques, susciter d’autres rapports à la culture et privilégier des modes festifs de sociabilité dans un contexte culturel peu dynamique. La thèse montre comment la logique Do It Yourself qui animait la création des lieux intermédiaires ainsi que leur manque de moyens structurels rendaient ces derniers particulièrement sensibles à leur environnement (institutionnel, urbain, socio-culturel, artistique) et les ouvraient sur la vie et les besoins de la cité. On observe que les trois lieux résultaient d’une dynamique de coopération et des appropriations des usagers, davantage que d’une logique oppositionnelle. Face au contexte actuel du city marketing et des ambitions de la ville créative qui mobilise les infrastructures et événements culturels à des fins économiques et promotionnelles, la perspective historique de cette thèse vise à réinterroger le statut de ressource que représente le lieu de culture. À partir de l’histoire de ces trois lieux, elle invite à penser les conditions de possibilité de l’infrastructure culturelle comme commun. / This dissertation examines the challenges and creative processes of intermediate places (cultural sites, third-places) in the specific situation of Belgium during the 1970s. In a context of social, cultural and artistic demands and urban conflicts, as the country was undergoing institutional reforms following the first revision of the Constitution, new actors claimed their place in the city and their right to the city.Studies on intermediate places have proliferated over the past twenty years with regard to land use planning issues. A review of the state of the art reveals that while geographers, urban planners and sociologists invested contemporary spaces to analyze the territorial - and more specifically urban - dynamics to which they contribute, art and theater historians produced monographs on the invention of such new spaces and about their significance and effects in the art world.Using unedited archive collections and oral history to study three intermediate places founded in Belgium in the 1970s - the Halles de Schaerbeek, the Cirque Divers and the Raffinerie du Plan K - this research suggests to combine these two approaches by showing how, through aesthetics, design choices and the modes of sociability implemented in these places, they developed a specific urban imaginary, contributed to the experience of the city and entered the art world.The implementation of such infrastructures provided a spatial solution that would enable the development of new artistic practices, encourage other attitudes towards culture and favor celebratory modes of sociability, in a poorly dynamic cultural context. The dissertation shows how the "Do It Yourself" movement that promoted the development of intermediate places as well as their lack of organizational means made them particularly sensitive to their - institutional, urban, socio-cultural, artistic - environment and exposed them to the life and needs of the city. Consequently, it can be stated that the three cultural sites arose from a dynamic of cooperation and appropriation by the users, rather than from an oppositional logic. In light of the current model of city marketing and the aspirations of the creative city, which relies on the use of public infrastructures and cultural events for economic and marketing purposes, the historical approach of this work aims at reexamining the value of cultural places as a resource. Drawing on the history of these three sites, it calls for a reflection on the conditions of possibility of cultural infrastructure as a common.Keywords: intermediate places, requalification, common, development, appropriation, 1970, creative city, celebration, spectacle, urban imaginary, Brussels, Liege, Belgium / Doctorat en Arts du spectacle et technique de diffusion et de communication / info:eu-repo/semantics/nonPublished

Seit mehr als zehn Jahren wird in Städten weltweit über die „Kreative Stadt“ debattiert. Doch können Städte Kreativität fördern? Aus einer stadtsoziologischen Perspektive wird zunächst gefragt, welche Möglichkeiten die Stadt zur Entfaltung von Kreativität bietet. Das Verhältnis von Kreativität und Stadt wird als eine Wechselwirkung konzipiert, bei der Städte besondere Gelegenheitsstrukturen und Möglichkeitsräume für die Entstehung und Bewertung von Kreativität darstellen können, die mit Anthony Giddens Strukturationstheorie als Regeln und Ressourcen interpretiert und in den Interaktionen, Beziehungen und Institutionen verortet werden, die mit und zwischen Kreativtätigen in Städten entstehen. Aus einer Governanceperspektive wird dann gefragt, welche sozialen und soziopolitischen Arrangements sich zur Koordination von Kreativität in Städten herausbilden. Im Fokus der empirisch-analytischen Untersuchung stehen horizontale Kooperationsformen wie Netzwerke und Steuerungskreise von kreativwirtschaftlichen und öffentlichen Akteuren deren Ziel die Unterstützung der kreativwirtschaftlichen Branchen ist. Diese Governancestrukturen werden als intermediäre Strukturen betrachtet, die für die Beförderung von Kreativität wesentliche Koordinations- und Vermittlungsleistungen erbringen können. In einem explorativen, multimethodischen, qualitativen Fallstudienansatz werden jeweils zwei Governancearrangements in Berlin und London untersucht. Allen gemeinsam ist, dass sie eher symbolische Funktionen erfüllen, die Kooperationsbereitschaft anzeigen als Abstimmungs- und Aushandlungsprozesse und die Erarbeitung gemeinsamer Problemdefinitionen und Lösungsansätze. Trotz intensiver „Kreative Stadt“ - Diskussionen bildet „Kreativität als Ressource der Stadtentwicklung“ noch kein Deutungsrahmen, mit dem sich politische Mehrheiten für gezielte Strategien in den Städten mobilisieren lassen. / In the last decade, creativity has been promoted as the new key resource of urban development. From a governance perspective, the empirical-analytical inquiry focuses on the question how the ‘creative city’ has been translated into new governance processes and how creativity can be governed in cities. The empirical research draws on four governance arrangements between creative industries stakeholders and public bodies in Berlin and London and is based on an embedded multi-case-study-design with different qualitative methods such as interviews, content analysis and participant observation. These unfolding governance arrangements share objectively several productive features for success and policy innovation in that particular policy field: they combine a diversity of new actors and stakeholders in open and inclusive designs, exhibit passion and endurance of key actors, display a common interest and are matched by supportive, new strategic objectives from the two urban governments. Nevertheless, they also miss several features: a common frame of reference for defining a problem and for integrating disparate knowledge between all stakeholders, no prior cooperation experiences, hardly any financial resources, and eventually, a rather opportunistic and week commitment by urban governments. As in many other cities, the idea of a ‘creative city’ was rather used a ‘rhetorical device’ by urban politics to refashion existing policies instead of appropriate policy-making that supports cultural production in its multifaceted ways.