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<p>In this undergraduate thesis you will venture on a journey through the land of democratic values and urban planning. My research question is stated as: whether or not urban planning can show effects on democratic values and whether or not the municipalities in Sweden takes these possible effects into account when planning their city centres. You will in my theory part of this thesis be able to read about different views on urban planning and on democracy. Famous authors like Robert D. Putnam and Richard Florida will be examined as well as other theorists on democracy and urban planning. To be able to map whether or not urban planning matter I have done a thorough research on two cases of urban planning in two of Sweden’s smallest municipalities. Both of them have fairly recently rebuilt their urban centres and my research will try to show how this new urban planning has influenced the democracy in those regions. This research will show to you that thoughts, that urban planning affects the democracy, actually exist and affect the ones who execute and plan the urban centres in the municipalities. On the question whether or not there exist a correlation between urban planning and a well functioning democracy this research will show that no such link is recognizable and that urban planning, for the two cases, did not matter.</p>

This dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open open mics," on the other hand, usually have a more fluid, diverse sociological composition of musical performers, performance types, and musical genres played and represented in these mainly weekly events. Closed open mics align into more homogeneous, isomorphic settings comprising "local open mic scenes" and open open mics remain more heterogeneous, socially inclusive, and unsettled as "pre-scenes."

Platsmarknadsföring är ett växande fenomen internationellt och i Sverige, då det påstås att ”städer tävlar mot andra städer” om besöksnäringen, nyetableringar av företag och befolkning. Att platsmarknadsföra sin stads specifika värden, genom att paketera och ”sälja” in staden, har blivit mer av en regel än ett undantag, där man genom texter och bilder vill lyfta fram stadens specifika kvalitéer.Men vad gömmer sig i skuggsidan av platsmarknadsföringen? Och vidare vad blir effekterna av de bilder man visar upp av staden?Många kritiska forskare menar att risken är att befolkningen i staden inte känner igen bilden av sin stad och då känner sig åsidosatta och platsmarknadsföringen förlorar då sin styrka. Därför blir också intern platsmarknadsföring oerhört viktigt för att vinna legitimitet hos befolkningen.I min undersökning har jag gjort en djupstudie av Karlstad relativt nya platsvarumärke °Karlstad med tillhörande platsvarumärkesmaterial. Genom analyser av materialets texter och bilder och med kompletterande intervjuer med nyckelpersoner som arbetar med marknadsföringen, har jag dessutom fått ett djupare perspektiv och förståelse för platsvarumärkets syfte. Genom analyser har jag kunnat urskilja teman och diskurser som återkommer i materialet.Det finns inga faktiska siffror på hur mycket platsmarknadsföringen ger en stad eller om det i huvud taget ger en ekonomisk vinning för staden. Det som marknadsföringen däremot ger om man lyckas i sin marknadsföring, är igenkännande och vidare ett stark platsvarumärke som blir igenkänt nationellt och kanske till och med internationellt. Om man dessutom har starka värden, som Karlstad faktiskt har lyckats skapa och som stark förknippas med platsen, ger det också bredare djupverkningar och igenkännande på marknaden. På lång sikt kan det ge starkt underlag för att locka till sig besöksnäring, befolkning och företag. / Place marketing is a growing phenomenon both internationally and in Sweden, where it is alleged that "cities are competing against other cities' of the tourism industry, new businesses and population. To place market the specific values of the city, by packaging and "sell" an idea of the city, has become more of a rule than an exception, where they want to highlight the specific qualities of the city through texts and images.But what hides in the shadow-side of the place marketing? And what will the actual effects be of the photos used to showcase the city?Many critical scholars believe that a risk is that the population of the city does not recognize the image of their own town and may feel neglected leading to the marketing losing its power. Hence the importance of internal site marketing as it is extremely important to win legitimacy among the population.In my research I have done in-depth study of Karlstads relatively new place brand °Karlstad with related brand materials. Through analysis of the texts and pictures from the material with additional interviews with key figures working with the marketing in Karlstad municipality, I have also gained a deeper perspective and understanding of the purpose of the subject of place marketing. Through analysis, I have been able to discern themes and discourses that recur in the material.There are no actual numbers or statistics on the gain of place marketing for a town in financial or other values. Instead, what it does give is recognition, and if done properly, a strong brand that can be recognized by citizens of Sweden and even internationally. If there are other strong and important values that can be associated with the town it will give wider effects of depth in the long perspective, creating a possibility to attract tourists, inhabitants and companies.

This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

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Les mutations récentes du capitalisme, où la « connaissance » tend à remplacer les ressources naturelles et le travail physique comme outils de croissance économique, transforment en profondeur les villes contemporaines. Dans ce contexte, les villes dites « post-fordistes » adaptent leurs structures productives, spatiales et socio-organisationnelles aux exigences de la nouvelle économie. L'une des manifestations les plus claires de ces mutations réside dans la multiplication de grands projets développés au cœur des villes : « Districts Technologiques », « Districts de l'Innovation », « Cités du Design », « Cités du Multimédia », « Quartier des Sciences », « Quartiers de la Création ou de l'Innovation » etc. Pour comprendre ce phénomène nous avons réalisé une analyse comparative de quatre projets mis en œuvre dans trois villes : Barcelone (22@barcelona), Buenos Aires (Distrito Tecnológico ; Distrito de Diseño) et Grenoble (projet GIANT /Presqu'île). A travers cette étude nous avons cherché à répondre à deux questions fondamentales. Ces projets préfigurent-ils l'émergence d'un nouveau « Modèle Territorial de l'Innovation » (MTI), le modèle des « Systèmes Urbains Cognitifs » (SUC) ? Dans quelle mesure les caractéristiques distinctives des SUC font de ces sites des supports privilégiés de production et de diffusion d'innovations ? / Over the last decade, cities have been adjusting their production, spatial and socio-organisational structures to the requirements of the new economy. There has been a plethora of “technology districts”, “creative clusters and cyberdistricts” – all built on the same type of model, that of “Urban Cognitive Systems” (UCS). The assumption behind these UCSs involves creating a new theoretical framework and then testing out the ability of UCSs to establish themselves as an ideal way for localities to produce and add value to the process of innovation. This empirical work involves comparative analysis of four UCSs established in three cities, Barcelona (22@Barcelona), Buenos Aires (Distrito Tecnológico ; Distrito de Diseño) and Grenoble (GIANT / Presqu'île scientifique).

Nome completo do autor: Felipe Carvalhal Barbosa Nome completo do orientador: Henrique César Muzzio de Paiva Barroso / Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2017-05-30T18:30:31Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) / Made available in DSpace on 2017-05-30T18:30:31Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016-02-29) - FELIPE CARVALHAL.pdf: 1185041 bytes, checksum: f5114543fcc22ab9ba866bad1dd0b0c4 (MD5) Previous issue date: 2016-02-29 / Capes e CNPQ / Em um ambiente marcado por mudanças rápidas e pujantes gerir uma organização tornou-se um desafio, em especial no cenário da economia criativa, seja pela dinâmica do mercado ou pelas características dos trabalhadores, engajar-se nessa missão exige dedicação e preparo. É preciso conciliar os pressupostos de gestão, notadamente de ontologia objetiva, com uma característica puramente subjetiva, a criatividade, em busca de uma gestão criativa. Diante disso, esta pesquisa procurou saber como os líderes de organizações da economia criativa percebem a sua atuação em busca de uma gestão criativa. Para tal, foi realizada um trabalho caracterizado como exploratório e descritivo analítico de natureza qualitativa, por meio de estudo de casos coletivos com inspiração fenomenológica, adotando como ponto de vista ontológico a realidade como uma construção social. Foram realizadas semiestruturadas com um total de onze gestores de organizações da economia criativa em Recife-PE, Brasil. Foi possível denotar que os líderes das organizações pesquisadas percebem sua atuação voltadas para uma gestão criativa. Estas pessoas procuram pontuar suas práticas e ações tendo em vista à criatividade, a novidade e a inovação, tudo isso pautado em um ambiente que respira o respeito e a diversidade. Ficou evidente que os entrevistados e entrevistadas exercem uma liderança favorável ao afloramento da criatividade de suas equipes, mesmo que apresentem dificuldades em uma situação ou outra, explicada muitas vezes pela experiência de vida cada um. Elas e eles mostraram que a cultura organizacional de suas organizações, seu exercício de liderança e o modo como entendem seus colaboradores, podem sim, ser tratados e explorados para se chegar à uma gestão criativa. Em referência ao modelo é preciso repensá-lo no que tange a participação da classe de trabalhadores dita como não criativa, como ela interage nessa economia, quais são suas implicações e afins. É preciso elucidar a imbricação da cultura organizacional nos outros pilares propostos para uma gestão criativa, em especial em relação à classe criativa, pois mostrou-se que ambos compartilham valores e situações muito próximas. Faz-se necessário repensar o modelo considerando paradigmas modernos e não apenas com preceitos pós-modernos. Contudo, as práticas discursivas e os contextos apresentados nos alertam para um caráter pouco difundido da economia criativa, em especial ao incentivo e valorização do empreendedorismo urbano neoliberal. Dando a entender que qualquer pessoa pode fazer parte desta economia, mesmo não sabendo as consequências pela escolha ou não escolha desta. O discurso promissor e bastante difundido acerca da economia criativa e sua relevância para o desenvolvimento global escondem um ambiente marcado por relações de trabalho mais precárias, aonde um ambiente agradável esconde uma maior carga horária, e uma flexibilidade de horários e liberdade se refletem em prazos mais curtos e metas mais audaciosas. Outra discussão importante é que muitos atores da economia criativa não foram educados para vender sua criatividade, tendo que aprender na marra, e com muito suor, a transformar uma ideia em dinheiro, destacando o quão desafiador é trabalhar num ambiente extremamente inovador, onde os erros constantes podem desestimular e frustrar estes profissionais. Por fim, destaca-se que harmonizar dois aspectos diametralmente opostos, gestão e criatividade, requer que os atores organizacionais atuem de forma a abranger as características da cultura organizacional aberta e flexível, aliadas ao exercício de uma liderança que promova a criatividade de seus liderados, conseguida a partir do conhecimento das características e anseios dos integrantes de suas equipes. / In an environment marked by rapid and vigorous changes manage an organization has become a challenge, especially in the scenario of the creative economy, either by market dynamics or the characteristics of workers, engaging in this mission requires dedication and preparation. We must conciliate the premises of management, clearly an objective ontology, with a purely subjective characteristic, creativity, in the search of a creative management. Thus, this research looked into how the leaders of the creative economy organizations realize their activities in search of creative management. For such, it was conducted a work characterized as analytical exploratory and descriptive qualitative nature through study of collective cases with phenomenological inspiration, adopting as an ontological point of view reality as a social construction. Semi structured interviews were conducted with eleven managers of organizations of the creative economy in Recife, Brazil. It was possible to denote that the leaders of the organizations surveyed perceive its actions focused on creative management. These people seek to punctuate their practices and actions with creativity, novelty and innovation in mind, all guided in an environment that breathes respect and diversity. It was evident that the interviewed respondents and exert a favorable leadership to the outcrop of the creativity of their teams, even if they have difficulties in one situation or another, explained many times through each of their life experiences. They showed that the organizational culture of their organizations, their exercise of leadership and understanding of how their employees can indeed be treated and exploited in order to achieve a creative management. Concerning the model, we need to rethink it regarding the participation of the class of workers considered uncreative, how it interacts in this economy, and what are its implications. We must elucidate the intertwining of organizational culture in the other pillars proposed for creative management, especially in relation to the creative class, as it was shown that they share values and very close situations. There is a need to rethink the model considering modern paradigms and not just postmodern precepts. However, the discursive practices and contexts presented alert us to some widespread nature of the creative economy, in particular the encouragement and promotion of neoliberal urban entrepreneurialism. Implying that anyone can be part of this economy, even not knowing the consequences of choosing or not choosing this. The promising and widespread discourse on the creative economy and its relevance to the overall development hide an environment marked by more precarious employment relationships, where a pleasant atmosphere hides a greater workload, and schedule flexibility and freedom are reflected in shorter deadlines and more ambitious goals. Another important argument is that many stakeholders of the creative economy have not been educated to sell their creativity, having to learn the hard way, and at the cost of a lot of sweat, to turn an idea into money, highlighting how challenging it is to work in a highly innovative environment where constant errors can discourage and frustrate these professionals. Finally, we must highlight that to harmonize two diametrically opposed aspects, management and creativity, it is required that organizational stakeholders act to cover the characteristics of opened and flexible organizational culture, combined with the exercise of a leadership that promotes creativity of their team, achieved from the knowledge of the characteristics and aspirations of the members of their teams.

在創意經濟的時代，創意階級被視為當代驅動經濟成長的引擎。Florida認為一個城市只要能吸引創意階級聚集，就能促進當地的經濟發展，其主張以職業別區分之創意資本較以教育程度區分之人力資本更能夠解釋區域經濟的發展。為驗證此一論點，本文以創意階級為分析對象，針對台灣都市地區進行實證，首先分析台灣地區創意階級之空間聚集程度與創意資本累積情形，進一步探討創意階級群聚、創意資本與傳統人力資本對區域經濟發展之影響效果。本研究發現台灣的創意階級聚集於主要都市地區，而創意階級群聚指標對區域經濟發展之影響效果不如創意資本指標。又創意資本指標比傳統人力資本指標更能夠解釋對區域經濟發展的影響效果。 / In the era of creative economy, the creative class is regarded as the engine of contemporary economic growth. Florida argued that cities and regions that have attracted creative workers subsequently perform better than other cities and regions. He acclaimed that the creative indicators measured by occupation are better than the traditional human capital indicators measured by education explain the regional economic development. To verify this discussion, we develop a model to examine the influence of the cluster of creative class, creative capital and human capital on regional economic development. Across our sample of Taiwan, we find that creative class measures tend to outperform conventional educational measures in accounting for regional development. The expertise in specific area is much more important than diploma. And what people learn should be connected to what people actually do that can be productive and urge the economic engine run.