City, Culture and Society最新文献_第4页

Unpacking the university-creative economy assemblage: the discourses, dynamics and possibilities of creative R&D programmes 解开大学-创意经济组合：创意研发项目的话语、动态和可能性

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-05-24 DOI: 10.1016/j.ccs.2025.100637

Liz Roberts , Jack Lowe , Simon Moreton

The UK government's Creative Industries Sector Vision identifies the creative industries as a growth engine, supporting the state's ambition for the UK to be a global innovation hub and foregrounding the role of universities ‘to champion spin-outs’ and ‘enrich local SMEs with their applied research’ (June 2023). Attempts to mobilise universities as agents in regional creative economies via University-Industry R&D programmes have intensified in recent decades, with over £276 million invested since 2012 in programmes such as the AHRC's Creative Industries Clusters Programme, CoSTAR, XRtists and UKRI's Strength in Places Fund. This paper unpacks the imaginaries and mechanics of such projects to show how universities have become complicit in a political shift that positions innovation, knowledge exchange and technological capability as the most valuable forms of ‘creativity’, rather than other artistic, social, or cultural practices. We examine the often-inflexible structures of partnership, resourcing and knowledge hierarchies within higher education institutions (HEIs) that delimit the potential of universities as agents in regional creative economies. We explore how creative sector-facing practices performed by universities, such as knowledge exchange, performance measurement and administrative procedures, can reproduce an exclusionary and extractive vision of creative economies. Lastly, we consider what alternative practices of intermediation may exist to support a more progressive role for HEIs in the creative economy.

英国政府的创意产业部门愿景将创意产业确定为增长引擎，支持英国成为全球创新中心的雄心壮志，并强调大学“支持衍生产品”和“通过应用研究丰富当地中小企业”的作用（2023年6月）。近几十年来，通过大学-产业研发项目，动员大学作为区域创意经济的代理人的努力得到了加强，自2012年以来，在AHRC的创意产业集群项目、CoSTAR、XRtists和UKRI的地方优势基金等项目上的投资超过2.76亿英镑。本文揭示了这些项目的想象和机制，以展示大学如何成为政治转变的同谋，这种转变将创新、知识交流和技术能力定位为最有价值的“创造力”形式，而不是其他艺术、社会或文化实践。我们研究了高等教育机构（HEIs）中通常不灵活的伙伴关系、资源和知识层次结构，这些结构限制了大学作为区域创意经济代理人的潜力。我们探讨了大学如何执行面向创意部门的实践，如知识交流、绩效评估和行政程序，可以再现创意经济的排他性和掠夺性愿景。最后，我们考虑可能存在哪些替代中介实践来支持高等教育在创意经济中发挥更进步的作用。

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引用次数: 0

Spaces of work, encounter, and representation of, and for, creative industries 创意产业的工作、相遇和表现空间

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-05-24 DOI: 10.1016/j.ccs.2025.100639

Ana Mafalda Madureira , Ana Maria Bustamante Duarte , Karin Pfeffer , Adiwan Aritenang

Previous research has focused on the relationship between creative industries and the urban areas where these industries tend to be located within the city. Less understood is the character, use, and impact of spaces intended to support creative industries. This paper questions the role these spaces have for creative industries’ development, and their socio-spatial dynamics across a city. We focus on the city of Bandung, Indonesia, and inquire (1) what types of spaces are promoted by policies to support creative industries development, and where are these spaces located; (2) how are the socio-spatial patterns of these spaces linked with the development of these industries in the city, and (3) who are the actors behind the development of these spaces. The research is informed by document analysis, interviews and informal communication with policy makers, entrepreneurs, and owners/managers of spaces occupied by local creative industries, and structured observation. Our findings characterize three types of roles (spaces of work, encounter, and representation) and their socio-physical characteristics (actors behind these spaces, and how they occupy the city). Understanding the roles and spatial dynamics of these spaces can inform policies that aim to influence creative industries development through the provision of spaces that these industries can occupy.

以前的研究主要集中在创意产业和城市地区之间的关系，这些产业往往位于城市内。人们对旨在支持创意产业的空间的特征、用途和影响了解较少。本文质疑这些空间对创意产业发展的作用，以及它们在城市中的社会空间动态。我们以印度尼西亚万隆市为研究对象，探讨了以下问题：(1)支持创意产业发展的政策促进了哪些类型的空间，这些空间位于哪里；(2)这些空间的社会空间格局如何与城市中这些产业的发展联系在一起；(3)这些空间发展背后的行动者是谁。本研究通过文献分析、访谈、与当地创意产业空间的决策者、企业家和业主/管理者的非正式交流，以及结构化的观察来获取信息。我们的研究结果描述了三种类型的角色（工作空间、相遇空间和表现空间）及其社会物理特征（这些空间背后的角色，以及他们如何占据城市）。了解这些空间的作用和空间动态可以为旨在通过提供这些产业可以占用的空间来影响创意产业发展的政策提供信息。

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引用次数: 0

The end of publicness in Yorubaland? Exploring the privatisation of public space in Ile-Ife, Nigeria 约鲁巴兰的公开性终结了吗？探索尼日利亚Ile-Ife的公共空间私有化

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-05-21 DOI: 10.1016/j.ccs.2025.100638

Temitope Muyiwa Adebara , Adewumi Israel Badiora , Adedotun Ayodele Dipeolu , Lateef Adeleke Adeniyi

Western urban theorists have critiqued the involvement of the private sector in the production and management of public space, contending that privatisation has led to the erosion of publicness and the decline of social life within the public sphere. However, there is a noticeable scarcity of empirical studies exploring the engagement of private actors in the politics of urban public space in Sub-Saharan Africa, particularly within Yoruba society. This paper seeks to address this gap by investigating the privatisation of public space and its implications in Ile-Ife, a traditional Yoruba city in Nigeria. Employing a qualitative approach involving a systematic literature review, interviews and field observations, this paper reveals that the Yoruba city is experiencing the issues of over-management and under-management of public space, as highlighted in the Western homogenisation theory. Nevertheless, in contrast to the Western theory, privatisation does not result in the decline of publicness and sociability of public spaces in the Yoruba society. Key aspects of privatisation, such as commercialisation and controlled access, are integral to the traditional concepts of open space in Yorubaland. Findings show that privately owned spaces within gated communities and establishments, such as schools, hotels, hospitals, shopping complexes, churches, mosques, bars, and restaurants, support social and leisure activities. The emergence of contemporary public spaces does not alter the local concepts and meanings associated with social spaces. This paper argues that the Western framework for public space management is not entirely applicable in the traditional Yoruba context, emphasising the necessity for a contextual approach to public space planning.

西方城市理论家对私营部门参与公共空间的生产和管理提出了批评，认为私有化导致了公性的侵蚀和公共领域内社会生活的衰落。然而，在撒哈拉以南非洲，特别是在约鲁巴社会中，探索私人行为者参与城市公共空间政治的实证研究明显缺乏。本文试图通过调查尼日利亚传统约鲁巴人城市Ile-Ife的公共空间私有化及其影响来解决这一差距。本文采用定性方法，包括系统的文献综述、访谈和实地观察，揭示了约鲁巴城市正在经历公共空间管理过度和管理不足的问题，正如西方同质化理论所强调的那样。然而，与西方理论相反，私有化并没有导致约鲁巴社会公共空间的公共性和社交性的下降。私有化的关键方面，如商业化和控制进入，是约鲁巴兰开放空间传统概念的组成部分。调查结果表明，封闭社区和设施内的私人空间，如学校、酒店、医院、购物中心、教堂、清真寺、酒吧和餐馆，支持社会和休闲活动。当代公共空间的出现并没有改变与社会空间相关的地方概念和意义。本文认为，西方的公共空间管理框架并不完全适用于传统的约鲁巴语境，强调了在公共空间规划中采用语境方法的必要性。

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引用次数: 0

Embeddedness of the audiovisual industries: from local clusters to global broadcasting 视听产业的嵌入性：从地方集群到全球传播

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-05-08 DOI: 10.1016/j.ccs.2025.100636

Bilyana Tomova , Diana Andreeva-Popyordanova , Tsveta Andreeva

The audiovisual industries are among the fastest-growing cultural and creative sectors in Europe. This research employs a Global Production Network approach (Coe & Yeung, 2015; Kloosterman, D'Ovidio, et al., 2019) to examine how audiovisual industries are embedded within Europe. The findings are based on analysing three case studies focused on the film, television, and radio industries, which illustrate the interactions between Bulgarian, European, and global players in the contemporary media ecosystem. The specific characteristics of the global production networks in these case studies highlight both value creation and the power distribution among different phases and actors within the network. The research investigates how these networks and their participants interact with their local environments, considering societal, territorial, and network embeddedness. This approach helps to identify specific aspects of the audiovisual networks' embeddedness, as well as the spillover effects between different types of embeddedness. Additionally, the research emphasises the strategic significance of audiovisual industries in shaping national and European policies and legislation.

视听产业是欧洲发展最快的文化和创意产业之一。本研究采用全球生产网络方法(Coe &；杨,2015;Kloosterman， D'Ovidio等人，2019)研究视听产业如何嵌入欧洲。研究结果基于对电影、电视和广播行业三个案例的分析，这些案例说明了保加利亚、欧洲和全球参与者在当代媒体生态系统中的相互作用。在这些案例研究中，全球生产网络的具体特征突出了网络中不同阶段和行动者之间的价值创造和权力分配。该研究调查了这些网络及其参与者如何与当地环境相互作用，考虑到社会、领土和网络嵌入性。这种方法有助于识别视听网络嵌入性的具体方面，以及不同类型嵌入性之间的溢出效应。此外，该研究还强调了视听产业在制定国家和欧洲政策和立法方面的战略意义。

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引用次数: 0

Attachment and (in)securities. Threats to the notion of rootedness in neighbourhood space in Barcelona 附件和（在）证券。对巴塞罗那社区空间中根植概念的威胁

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-04-29 DOI: 10.1016/j.ccs.2025.100635

Montserrat Crespi-Vallbona , Cristina López-Villanueva

Lockdown due to Covid-19 reinforced the notion of proximity in the provision of well-being and the everyday care. The limitations on mobility meant the (re)discovery of neighbourhood life and of fellow residents. The neighbourhood was once again shown as a space of roots where shared loyalties and social identities were formed and reinforced social cohesion and generated mutual support networks in response to an unprecedented situation such as the pandemic. These powerful links pose important challenges in a post-pandemic context, resulting from recent urban processes arising from the cost of housing and questioning the consolidation of proximity, the concept of neighbourhood as community and the right to housing. This paper studies the main challenges to consolidate these ties in Barcelona. Based on analysis of 20 in-depth semi-structured interviews were conducted in two neighbourhoods (Montbau and Sant Antoni) and preceded by an analysis of secondary data related to residential (in)stability and mobility this article to explore the sense of belonging, community dynamics and the social cohesion. This research confirms two types of threats: a) recent urban processes that promote residential insecurity and, b) community dynamics that hinder integration and bonds. Obstructing neighbourhood ties breaks the social protection network.

Covid-19导致的封锁强化了在提供福利和日常护理方面的接近概念。流动性的限制意味着（重新）发现邻里生活和其他居民。社区再次显示为一个有根的空间，在这里形成了共同的忠诚和社会身份，加强了社会凝聚力，并形成了相互支持的网络，以应对疫情等前所未有的局势。这些强有力的联系在大流行病后的背景下构成了重大挑战，这是由于住房成本引起的最近的城市进程以及对邻近性的巩固、邻里作为社区的概念和住房权的质疑造成的。本文研究了在巴塞罗那巩固这些联系的主要挑战。本文基于对两个社区（Montbau和圣安东尼）进行的20次深度半结构化访谈的分析，并在分析与住宅稳定性和流动性相关的二手数据之前，探讨了归属感、社区动态和社会凝聚力。这项研究证实了两种类型的威胁：a)最近的城市进程加剧了居民的不安全感；b)阻碍融合和联系的社区动态。阻碍邻里关系破坏了社会保障网络。

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引用次数: 0

Creative improvement, cultural infrastructure and urban zones: a tale of three cities and their cultural districts 创意改进、文化基础设施和城市区域：三个城市及其文化区的故事

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-04-12 DOI: 10.1016/j.ccs.2025.100634

Abigail Gilmore , Claire Burnill-Maier

This paper critically examines place governance and cultural policy decision-making in the context of three cities - Melbourne, Manchester and Toronto. It takes an infrastructural lens to examine the narrative histories and policy rationales for creating spatial zones in which culture is demarcated as an engine for social, cultural and economic development in each of these cities. By contextualising each city in relation to their individual histories, social, economic and political dimensions, the paper offers insights into the global similarities and differences in cultural district development, exposing a reliance on interests and actors that extend far beyond the state. It finds that the zoning of cultural space intermediates these interests requiring balance and oversight to ensure democratic participation and urban justice.

本文以墨尔本、曼彻斯特和多伦多这三个城市为背景，对地方治理和文化政策决策进行了批判性研究。本文从基础设施的角度出发，考察了这些城市创建空间区域的历史叙事和政策依据，在这些空间区域中，文化被划定为社会、文化和经济发展的引擎。通过结合每个城市的历史、社会、经济和政治背景，本文深入探讨了全球文化区发展的异同，揭示了文化区发展对国家以外的利益和参与者的依赖。论文发现，文化空间的分区是这些利益的中介，需要平衡和监督，以确保民主参与和城市正义。

引用次数: 0

Urban creativity in Dakar: Postcolonial dialogues through art in the city 达喀尔的城市创意：通过城市艺术进行后殖民对话

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-04-03 DOI: 10.1016/j.ccs.2025.100633

Estrella Sendra

Dakar is a city continuously re-signified and transformed through arts, embodying postcolonial dialogues and serving as a public sphere for speculating African futures. Inspired by Oumar Ndao's multimodal portrait of Dakar as an “uncertain territory” (Ndao, 2020) and Felwine Sarr's philosophical concept of Afrotopia (Sarr, 2019), this article examines contemporary relationships between arts, creativity, urban spaces and the world within a postcolonial city. Through a focus on murals, festivals and film, I illustrate how Dakar operates as “an active utopia”, where artists imagine and rehearse a positive transformation of the continent. Urban creativity in Dakar can thus be defined as a living canvas for postcolonial dialogues and Afrotopian dreams. Murals serve as sites of memory, honouring Senegalese filmmakers and other figures, highlighting their contributions to cinema, the decolonisation of the gaze, and including them in histories that have excluded them. Festivals re-signify ruins of utopia, showcasing artistic work in direct connection with its urban context, reusing, recycling, and rehearsing more balanced futures. Films strengthen social and political critique, addressing tensions within fiction through the re-use of ruins of utopia. Together, these artistic forms offer canvases to envision Sarr's proposition of the Afrotopia, a place and mindset where humanity is central and there is a healthier balance between economic, cultural and spiritual orders.

达喀尔是一个通过艺术不断重新定义和改造的城市，体现了后殖民对话，并成为投机非洲未来的公共领域。受Oumar Ndao将达喀尔描绘为“不确定的领土”（Ndao, 2020）和Felwine Sarr的非洲乌托邦哲学概念（Sarr, 2019）的启发，本文探讨了后殖民城市中艺术、创造力、城市空间和世界之间的当代关系。通过对壁画、节日和电影的关注，我展示了达喀尔作为“一个活跃的乌托邦”是如何运作的，在这里，艺术家们想象并排练着非洲大陆的积极转变。因此，达喀尔的城市创造力可以被定义为后殖民对话和非洲乌托邦梦想的活画布。壁画是纪念塞内加尔电影制作人和其他人物的场所，突出了他们对电影的贡献，目光的非殖民化，并将他们包括在被排除在外的历史中。节日重新象征乌托邦的废墟，展示与城市环境直接相关的艺术作品，重新利用，回收，并排练更平衡的未来。电影加强了社会和政治批判，通过对乌托邦废墟的再利用来解决小说中的紧张局势。总之，这些艺术形式提供了设想Sarr的非洲乌托邦命题的画布，这是一个以人为中心的地方和心态，在经济、文化和精神秩序之间有一个更健康的平衡。

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引用次数: 0

Symbolic trajectories in action: Digital technologies and representations of a stigmatized neighborhood 行动中的符号轨迹：数字技术和污名化社区的表现

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-03-24 DOI: 10.1016/j.ccs.2025.100623

Ju-Sung Lee , John D. Boy , Daniel Trottier

The symbolic standing of a neighborhood has material consequences, and stigmatized neighborhoods are often locked into a disadvantageous position. So far scholars have mostly studied neighborhood change in terms of degradation or upgrading, but we adopt a complex perspective that accounts for the contested nature of the processes shaping “symbolic trajectories.” Seeking to gauge the role played by digital technologies in these processes, we studied a neighborhood in The Hague, the Netherlands. We report on our conceptual framework and research design, ethical protocols, as well as our findings and their implications. Our research combines a qualitative approach to the field with computational analyses. We investigate social media posts spanning a decade to understand how they align with symbolic trajectories. Our findings reveal competing symbolic trajectories sponsored by different kinds of actors, with a slight trend toward fewer denigrating representations. The relative divestment of major institutions from the neighborhood leaves greater room for maneuver for everyday users and resident initiatives in shaping the neighborhood image.

一个社区的象征性地位会产生实质性的后果，而被污名化的社区往往会陷入不利的境地。到目前为止，学者们主要是从退化或升级的角度来研究邻里关系的变化，但我们采用了一种复杂的视角，来解释形成“象征性轨迹”的过程的争议性。为了评估数字技术在这些过程中扮演的角色，我们研究了荷兰海牙的一个社区。我们报告我们的概念框架和研究设计，伦理协议，以及我们的发现和他们的影响。我们的研究结合了该领域的定性方法和计算分析。我们调查了十年来社交媒体上的帖子，以了解它们是如何与象征性轨迹保持一致的。我们的研究结果揭示了由不同类型的演员赞助的相互竞争的符号轨迹，并有轻微的倾向于较少的诋毁表征。主要机构从社区中相对剥离，为日常用户和居民在塑造社区形象方面留下了更大的回旋余地。

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引用次数: 0

Extracting the night: Cultural extractivism and urban nightlife in Helsinki 抽取夜晚：赫尔辛基的文化抽取主义和城市夜生活

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-03-06 DOI: 10.1016/j.ccs.2025.100625

Giacomo Bottà

Adopting the concept of cultural extractivism, this article scrutinises how nightlife activities and spaces for live music are increasingly dependent on the forces of financialisation, which extract layers of material and immaterial assets for economic gain. Underground practices can temporarily disrupt this process, facilitating the emergence of alternative cultural practices; however, this cannot offer adequate lasting solutions and can only be addressed by creating a more equal and fairer city.

Drawing on insights from cultural studies, sociology and urban studies, this work contributes to a nuanced comprehension of the interplay between live music, the urban night, capitalist exploitation and resistance. Through qualitative analysis of interviews with city officials, club owners, party organisers, participants and DJs, the study presents a fresh perspective on the vulnerability of music ecosystems in the context of contemporary urban development.

采用文化榨取主义的概念，本文仔细研究了夜生活活动和现场音乐空间如何越来越依赖于金融化的力量，金融化为经济利益榨取了物质和非物质资产的层次。地下实践可以暂时破坏这一过程，促进替代文化实践的出现；然而，这并不能提供足够持久的解决方案，只能通过创造一个更平等、更公平的城市来解决。从文化研究、社会学和城市研究的角度出发，本作品对现场音乐、城市夜晚、资本主义剥削和抵抗之间的相互作用进行了细致入微的理解。通过对城市官员、俱乐部老板、派对组织者、参与者和dj的访谈进行定性分析，该研究提出了当代城市发展背景下音乐生态系统脆弱性的新视角。

引用次数: 0

Emergence and fall of the Hollywood punk scene in Los Angeles: Analysis of place-bound attributes vs translocal factors 洛杉矶好莱坞朋克场景的兴衰：地域属性与跨地域因素的分析

Q1 Social Sciences

City, Culture and Society

Pub Date : 2025-02-08 DOI: 10.1016/j.ccs.2025.100624

Sébastien Darchen

The article analyses the development and evolution of the punk music scene in Hollywood mostly composed of expatriates coming from different states in the U.S, from L.A.’s outer suburbs and from overseas. Methodologically, I used interviews with the scene's main participants to document the key bands' trajectories and to identify elements that facilitated the emergence of the scene. To study the influence of local factors vs translocal factors, I considered Crossley's (2009) approach in his analysis of scenes and his attention to participants' networks. The article makes a distinction between what is ‘local’ in music scenes and elements associated to the trans-local dimension of scenes in the pre-internet age. In conclusion, given the positioning of Los Angeles as a World City and not being one of the birthplaces of American music, the influence of translocal factors in shaping the Hollywood punk scene was high. However, local factors such as the availability of venues for punk shows and the inputs of Mexican American artists coming from East L.A. enabled this short-lived music cluster to develop a specific brand of punk characterised notably by musical hybridization between punk and American roots music.

本文分析了好莱坞朋克音乐场景的发展和演变，主要由来自美国各州，洛杉矶远郊和海外的外籍人士组成。在方法论上，我通过采访场景的主要参与者来记录关键乐队的轨迹，并确定促进场景出现的元素。为了研究局部因素与跨局部因素的影响，我考虑了克罗斯利（2009）在分析场景和关注参与者网络方面的方法。这篇文章对音乐场景中的“本地”元素和前互联网时代的跨本地场景元素进行了区分。总之，考虑到洛杉矶作为世界城市的定位，而不是美国音乐的发源地之一，跨地域因素在塑造好莱坞朋克场景方面的影响很大。然而，当地因素，如朋克演出场地的可用性和来自东洛杉矶的墨西哥裔美国艺术家的投入，使这个短暂的音乐集群发展出一种特定的朋克品牌，其特征是朋克与美国根音乐之间的音乐杂交。

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引用次数: 0