<p>U ovoj disertaciji primenjen je novi pristup koji za razvojni potencijal grada i urbanog turizma&nbsp;uzima kreativnost. Važno je razumeti i shvatiti da život gradu daju njegovi stanovnici i &scaron;to je&nbsp;bolji kvalitet života u gradu, bolji će biti njegovi građani, a i sam grad će oživeti. Mnogi&nbsp;gradovi gube bitku sa destruktivnim silama, jer su se pomirili sa mi&scaron;lju da su problemi toliko&nbsp;veliki i da se sa njima ne može izaći na kraj, pogotovo ako svi planski instrumenti i finansije&nbsp;nisu u najboljem redu. A to nije tačno, jer se uvek može uraditi jo&scaron; ne&scaron;to, malo, skriveno&nbsp;možda, ali vrlo značajno. Budućnost predstavlja posvećenost sa konstantnim inoviranjem. Ovo&nbsp;zahteva fleksibilnost&nbsp; i prilagođavanje,&nbsp; a nikako&nbsp; potrebu za sigurno&scaron;ću&nbsp; u starim načinima&nbsp;re&scaron;avanja problema i suočavanja sa izazovima. A tome služi kreativnost. Kreativnost se postiže&nbsp;kada se vidi &scaron;ta se može postići na održivosti grada sa vrlo malo sredstava. Tu leži ključ&nbsp;urbane akupunkture, jednostavne, brze metode, kojom se oslobađa velika energija i izaziva&nbsp;trenutno socijalno zadovoljstvo. Iskustva iz sveta govore da svaki grad, pa i milionski, može&nbsp;popraviti kvalitet života za svoje građane u periodu od 3 do 4 godine.</p> / <p>In this dissertation is applied creativity as a new approach to the urban tourism development. It is important to understand and realize that the life of the city depends of its citizens. If the city provides better quality of life to them, the citizens will be more satisfied and inspired by the&nbsp; city and the city will revive. Many cities are losing the battle with the destructive forces, as they assume that the problems are so big and that it is not possible to cope with them, especially if urban planning instruments and finances are not right. However, some&nbsp; urban experiences from the world show a proof that it is not true. It is always possible to something else, something little, maybe hidden, but significant for sustainability of the city. The future demands full dedication with constant innovation.&nbsp; That&nbsp; requires&nbsp; flexibility, risk and disallowance of a need&nbsp; for security that is found&nbsp; in&nbsp; old ways&nbsp; of solving problems&nbsp; and dealing&nbsp;with&nbsp; challenges.&nbsp; There&nbsp; the creativity is needed. Creativity is achieved when we see what can be done for urban sustainability with very few resources. Here lies the key&nbsp; of&nbsp; urban acupuncture, simple, fast methods, which releases energy and causes a large&nbsp; immediate&nbsp; social satisfaction. Some examples&nbsp; from the world show that every city,&nbsp; can improve the quality of life for its citizens, in a few years even the one of more then million inhabitants.</p>

The city of Ottawa, Ontario is neither an independent municipality nor solely Canada’s national capital. Ottawa instead sustains a hybrid state of being where the characteristics and cultural assets specific to the city’s two roles intertwine to generate its unique identity as a “national and local,” or “hybrid,” artistic showcase. As the identity of a place evolves from the practices and individual identities of all those involved with the environment, Ottawa’s self-stated “hybrid showcase” identity can be investigated through a study of the professional English-language theatre organizations operating within city limits. Ergo, this thesis introduces a methodology for conducting data-driven assessments of theatre organizations’ local, national, or hybrid artistic showcase identities, known as the Local-National Hybrid Showcase (LNHS) Scorecard. Using fifteen indicators, the LNHS Scorecard assesses the 2018 artistic programming and programming-adjacent operations of seven Ottawa-based theatre organizations. The results of said assessments illustrate the qualitative value of each organization’s showcase hybridity and identify any perceived preferences towards local or national stakeholders therein. Findings generated by applying the LNHS Scorecard methodology to the selected case studies suggest that as of December 31st, 2018, seven of Ottawa’s professional English-language theatre organizations embraced hybrid (local and national) showcase identities. Moreover, the final scores indicate that six of the seven organizations exhibit a weak to moderate preference for activities impacting Ottawa-based stakeholders. Defining Ottawa’s artistic showcase identity according to the combined practices and resulting showcase identities of the individual Ottawa-based theatre organizations upon which the greater artistic showcase depends, the LNHS Scorecard encourages new conversations about the cultural identity of Canada’s capital.

Die Verhandlung von Stadt, öffentlichem Raum und Kultur im Kontext neoliberaler Stadtpolitiken zeigt sich gegenwärtig in etlichen Regionen und Städten, so auch im slowenischen Ljubljana. Der Beitritt Sloweniens in die Europäische Union katapultierte die slowenische Hauptstadt in den globalen Städtewettbewerb, bei dem die Entwicklung eines einzigartigen Profils zur zentralen Aufgabe wird. Bei diesem Profilierungsprozess orientiert sich die lokale, regionale sowie nationale politisch-administrative Ebene am Leitbild einer creative city und passt sich so dem Umbau von Stadt mittels neoliberaler Politiken an. Gleichzeitig verhandeln Kultur- und KreativakteurInnen sowie politische AktivistInnen mithilfe kultureller und sozial-räumlicher Praxen Vorstellungen von urbanem öffentlichem Raum; dabei entwickeln sie zum Teil Gegenentwürfe zum offiziellen Leitbild. Diese Aushandlungsprozesse werden in der Arbeit theoretisch eingebettet in die kulturanthropologische Europäisierungsforschung und in neuere Konzepte von Raum(-verhandlung). Darüber hinaus verknüpft die Arbeit postsozialistische mit postkolonialen Perspektiven, um spezifische Entwicklungen im Feld adäquat(er) erklären zu können. Empirisch werden die Verhandlungen und theoretischen Konzepte anhand sechs konkreter Orte verdeutlicht: Rog, einer alten Fahrradfabrik, die zu einem Centre of Contemporary Arts umgebaut werden soll; Kino Siska und Spanski Borci, zwei kommerzielle Kulturhäuser; Krater Bezigrad, einem Entwicklungsprojekt für eine urbane Brache; Tabor-Park, der umgestaltet wird um wieder attraktiver für die AnwohnerInnen zu sein sowie einem community Garten. Am Ende der Arbeit steht ein Plädoyer für eine linke(re) Stadtpolitik, mit deren Hilfe Handlungsansätze aufgezeigt werden für den Umgang mit Konflikten im öffentlichen urbanen Raum wie sie in dieser Arbeit exemplarisch für Ljubljana aufgezeigt werden - die in ähnlicher Form aber auch in anderen Kontexten zu finden sind. / The negotiation of public urban space and culture in the context of neo-liberal urban policies is visible in various cities and regions; this can also be observed in the Slovenian capital Ljubljana. The accession of Slovenia to the European Union ejected the city into the global urban competition where the development of a unique profile becomes essential. In this matter, the local, regional as well as the national political level are oriented towards the concept of the creative city; this concept is closely connected with neo-liberal urban development concepts. Also cultural and creative actors as well as political activists negotiate urban public space with the help of cultural and social-spatial practices. Partially they are developing contrary approaches to the official concept the political level follows. These negotiations are being theoretically embedded in this thesis into cultural-anthropological concepts of Europeanization and new concept of space and its negotiation. Furthermore it brings together postsocialist theories with postcolonial approaches in order to grasp specific developments in the field more precisely. Empirically this is being done by reflecting on six concrete places where these negotiations and theoretical concepts can be observed: Rog, a former bicycle fabrication site which shall be transformed into a Centre of Contemporary Arts; Kino Siska and Spanski Borci, two commercial centres for culture; Krater Bezigrad, a development project of an abandoned site; Tabor park which shall be made more attractive for its users and a community garden. The thesis ends with a call for leftist urban policies with which conflicts that emerge in the public urban space can be addressed adequately.

This thesis examines the emergence of the organization, the Glasgow UNESCO City of Music, following the award of the title UNESCO City of music to Glasgow in 2008 from a Bourdieusian perspective. Bourdieu's concepts of field, habitus, and particularly capital are used to interrogate the negotiation of symbolic capital (Bourdieu, 1986) in the field of music in Glasgow. The thesis examines how the members of the organization–viewed their organization's position in the field of music in Glasgow and their attempts to secure its legitimacy in a field with established players. It shows how agents ‘work' to negotiate for the positions they want, or need, in order to establish the legitimacy, and thus the position, of an organization through the acquisition and use of capital. Although cultural capital is a core constituent of an organization's original position in the field of music the dominant and influential position of economic capital means that it is the symbolic capital associated with being granted funding rather than cultural capital, which influences and thus legitimate organizations in the cultural field. In its discussion of capital the thesis contributes to the literature on institutional work and organizational legitimacy.

Em nosso estudo, a economia criativa se revela como um processo de crise, então fundamentado pela relação negativa entre trabalho e capital, negatividade preservada pelo fetiche do dinheiro. A abordagem parte dos processos de modernização urbana, estes engendrados a partir do emprego de estratégias próprias ao planejamento urbano estratégico (PUE), que após a crise urbana surgida no início dos anos 1970, realiza-se por meio de diferentes paradigmas urbanos. Neste decênio, observa-se a ascensão do discurso ideológico sobre a cidade criativa no planejamento urbano (PU) brasileiro (SELDIN, 2015), sustentado pelo aclamado paradigma do planejamento criativo estratégico, a partir do qual se pretende promover a ascensão de uma nova classe social: as classes criativas (FLÓRIDA, 2011). Procuramos demonstrar, que a ênfase social sobre processos criativos e inovadores decorre de uma condição inerente a sociedade capitalista, que apresenta como pressuposto a incessante inovação de suas bases constitutivas, processos de destruição criativa (HARVEY, [1989] 2008). O capital, esta forma histórica, é determinado logicamente pelo imperativo da criação e a inovação permanente, relação entre o lógico e histórico que na sociedade capitalista resulta em recorrentes crises de desvalorização e superacumulação (HARVEY, [1989] 2008). As intervenções urbanas ou a expansão da fronteira urbana (COUTO, 2011; SANTOS, 2010) consistem em um dos principais recursos à superação destas crises, que, portanto, procura se resolver a partir da produção do espaço urbano (SANTOS, 2010). Nos anos 2000, a cultura (a cidade cultural) se torna um álibi (SANTOS, 2010) perfeito às intervenções urbanas em grandes metrópoles como São Paulo, promovendo a produção do espaço urbano e a consequente (re)produção ampliada do capital. Contudo, a mudança de paradigma urbano impulsionada pela ideologia da cidade criativa, ao incorporar o antigo modelo de cidade cultural e a ele incluir setores voltados à tecnologia, à informação e ao capital financeiro (produção de bens e serviços criativos e financeiros), não revela uma superação das crises do capital, mas um processo estrutural de crise simulado no movimento de mudança de paradigmas urbanos. A crise do trabalho se apresenta de modo revelador neste processo, diante da falência do Estado enquanto condição da reprodução. Na medida em que esta se amplia e se complexifica, nem mesmo o Estado-nação pode arcar com os custos (com a racionalização do trabalho e dos processos produtivos) exigidos por uma reprodução sem trabalho (KURZ, 2005). / In our study, the creative economy reveals itself as a crisis process, then based on the negative relation between labor and capital, negativity preserved by the fetish of money. The approach is based on the processes of urban modernization, which are generated by the use of strategic strategies for strategic urban planning (PUE), which, after the urban crisis that emerged in the early 1970s, takes place through different urban paradigms. In this decade, the rise of the ideological discourse on the creative city in Brazilian urban planning (SELDIN, 2015) is underpinned by the acclaimed paradigm of strategic creative planning, from which one intends to promote the rise of a new class social: the creative classes (FLÓRIDA, 2011). We seek to demonstrate that the social emphasis on creative and innovative processes stems from an inherent condition of capitalist society, which presupposes the incessant innovation of its constitutive foundations, processes of creative destruction (HARVEY, [1989] 2008). Capital, this historical form, is logically determined by the imperative of creation and permanent innovation, the relation between the logical and historical that in capitalist society results in recurrent crises of devaluation and overaccumulation (HARVEY, [1989] 2008). The urban interventions or the expansion of the urban frontier (COUTO, 2011; SANTOS, 2010) are one of the main resources to overcome these crises, which, therefore, seeks to solve the urban space production (SANTOS, 2010). In the 2000s, culture (the cultural city) became an alibi (SANTOS, 2010) perfect for urban interventions in large metropolises such as São Paulo, promoting the production of urban space and the consequent (re) expanded production of capital. However, the urban paradigm shift driven by the ideology of the creative city, incorporating the old model of cultural city and including sectors geared to technology, information and financial capital (production of creative and financial goods and services), does not reveal an overcoming of crises of capital, but a structural process of simulated crisis in the movement of urban paradigms. The crisis of the work is presented in a revealing way in this process, before the bankruptcy of the State as a condition of reproduction. As it widens and becomes more complex, even the nation-state can not afford the costs (with the rationalization of labor and production processes) demanded by a reproduction without work (KURZ, 2005).

本研究以觀察台北兩所發展較成熟的街區：中山雙連街區與師大路街區。希望透過了解街區吸引創意階級的地理因素條件，和深入探訪聚集在街區中的創意階級，紀錄其生活與工作型態的轉變，解析街區中吸引創意階級的因素和群聚的效果。並且觀察中介團體(非營利組織)與政府在介入街區經營的活動後，創意階級之間的弱連結人際交流的變化與影響，並且為未來街區的經營找到適當的模式和作法。 亞里斯多德曾說過，「人們是因為不得已來到城市，但是是因為喜歡它才留下來。」創意街區是台北城市文化創意產業生態的重要環節，一方面它可以發揮產業群聚的經濟效益，另一方面可以讓創意產業的鑲嵌在地理環境中，形成無法取代的產業特色，並拉近與民眾和生活的距離。創意群聚的經營重要的是掌握地理要素，由區域自發形成的共識與力量，著手調整城市文化與經濟策略及實質運作，始能創造一個地方新的生活與經濟型態與新的競爭力。

The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.

Made available in DSpace on 2014-12-17T14:20:17Z (GMT). No. of bitstreams: 1 FernandoMRC_DISSERT.pdf: 1539367 bytes, checksum: d697ce545e73d2370f71ffa7ac9295fa (MD5) Previous issue date: 2014-06-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The creative city can be identified by their cultural quarters, the existence of creative territories or the dynamics of a creative class. Whether we classify a city as creative, we can conceive that as creative environment charge of development of creativity in organizational settings, but also in urban dynamics and public participation itself. The creativity social phenomenon is an important and essential element but it is not the only contributor to the development of the creative environment. From the city of Natal, state of Rio Grande do Norte, we tried to identify and characterize statistically the main creative sectors. Thus, we set off for the application of semi-structured interviews in the three key creative sectors: Research, Architecture and Advertising. Besides, the proposal of a summary table of the analysis of the creative industries in the city of Natal, the research allowed to propose an analysis model of urban environment of a city whose main dimensions are population, cultural resources, networks and public policy / A cidade criativa pode ser identificada pelos seus bairros culturais, pela exist?ncia de territ?rios criativos ou pela din?mica de uma classe criativa. Independentemente de classificarmos uma cidade como criativa, podemos conceber que existe um ambiente criativo respons?vel pelo desenvolvimento da criatividade em ambientes organizacionais, mas tamb?m na pr?pria din?mica urbana e participa??o p?blica. A criatividade fen?meno social ? um elemento relevante e primordial, mas n?o ? o ?nico que contribui para o desenvolvimento do ambiente criativo. A partir da cidade de Natal, no estado do Rio Grande do Norte, procuramos identificar e caracterizar estatisticamente os principais setores criativos. Desse modo, partimos para a aplica??o de entrevistas semiestruturadas nos tr?s principais setores criativos: Pesquisa, Arquitetura e Publicidade. Para al?m, da proposta de um quadro-s?ntese de an?lise dos setores criativos na cidade Natal, a pesquisa permitiu propor um modelo de an?lise do ambiente urbano de uma cidade que tem por principais dimens?es: a popula??o, os recursos culturais, as redes e as pol?ticas p?blicas

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This article presents theoretical and empirical insights into how Ljubljana is integrated into the discourse of a creative city through top-down discourses and practices, and how bottom-up activists and stakeholders actively position themselves towards this development. The phenomenon described is an example for the realization of European cultural policy in a local context on the geopolitical and imaginative periphery of “EU-rope”: Slovenia.