City, Culture and Society最新文献

Despite its undeniable popularity, the concept of placemaking continues to suffer from a lack of clarity, valid performance indicators and robust data to attest of its effectiveness. Still to this day, understanding what placemaking actually does to people and, in turn, makes them want to do, all the while accounting for its contribution separate from other contextual factors, remains both a practical and scientific challenge. Hence, this experimental study investigates the impact of placemaking on affective and cognitive evaluations, self-congruity, and behavioral intentions across five very different built environments. Results show that environments ‘augmented’ through placemaking generate significantly more positive responses, be it in terms of emotions, perceptions, identification, or intended behaviors. In the process, the study sheds light on the underlying mechanisms by which behavioral intentions are induced through placemaking.

In recent years, dockless bike-sharing programs have been introduced to either substitute or complement docked bike-sharing programs. Riders of these devices always have perceived differences of one system over the other, which could vary across gender. This study applied a text network approach to explore the residents' perceptions of the dockless bike-sharing program across gender. The study used over 700 responses collected between February and March 2018 in Seattle, Washington. The results revealed that ease of use, convenience, safety, pricing, and quality areas make a tremendous difference in the perception of dockless over docked bike-sharing systems. The perception of ease of use and convenience does not vary significantly across genders. On the other hand, male respondents were more aligned on the better pricing scheme and the bikes' quality than female respondents. Conversely, female respondents did care more about safety in terms of helmet use. Moreover, female respondents were more explicit in explaining the negative characteristics of the dockless bike-sharing system over docked ones. Study findings can help policymakers and operators of dockless bikes to provide equity in service for both genders.

In The Rise of the Creative Class (2002) Richard Florida argues that for cities to compete for economic growth in the 21st century, they must appeal to the interests of the creative class. The creative class is said to be drawn to places that have the 4Ts: tolerance, technology, talent, and territorial assets. In Calgary, Alberta, where the volatility of the oil and gas sectors has caused ongoing economic uncertainty, officials have urged a need for economic diversification. This research illustrates that amid ongoing economic challenges in Calgary, the principles espoused through Florida's creative class model have been adopted and integrated into public policy. However, while the City has focused on providing a rich urban experience with quality amenities to appeal to the creative class, the success in attracting and retaining talent thus far has been limited. Instead, efforts have negative consequences, as this approach reflects a practice referred to as state-led gentrification which has fueled new-build gentrification in Calgary's inner-city.

This article addresses the relationship between culture, violence and urban transformation in Tijuana from 2001 until 2017, a period characterized by extreme disruptions to everyday life and the emergence of citizens self-managed cultural initiatives after the border crisis prompted by 9/11 terrorist attacks. While violence was not an extraordinary affair in the city, this period saw a shift in its characteristics and function as a regulating force of the urban network. At the same time, a citizens' drive of the city's cultural life recognizable since the 1990s transformed their objectives, modes of operation and function, in what we will argue became a stabilizing reaction to these disruptions. We will introduce the notion of ‘cultural urban assemblage’ to discuss the role that culture has played in assembling Tijuana during this acute rise of violence.

Urbanization is recognized as one of the megatrends of our society, leading to substantial efforts to create effective and smart cities. The scale of this effort is unsuitable for a single player, instead necessitating joint efforts from multiple stakeholders. The global expansion of smart cities has subsequently led to increased research efforts toward building effective smart cities. In theory and practice, collaboration is pivotal for effective urban development, most often seen through the establishment of public-private partnership (PPP). Past research has explored these partnerships in smart city projects. Although PPP is considered to be an effective means to facilitate smart city development, the concept of smart cities remains rather vague and ideological. PPP for smart cities has been substantiated in several case studies; however, a thorough review is lacking. Therefore, to synthesize the existing literature, we carried out an in-depth integrative literature review. From this basis, we executed a content analysis and four key themes emerged: localness, stakeholder complexity, tension, and trust-building. These four themes form the basis of our proposed model and describe the key elements influencing PPP formation in smart city projects. We argue that the partnerships involved in smart city projects need further refinement to allow for transparency and involvement in various contexts. This paper provides timely contributions to smart city research by synthesizing the extant literature as well as laying the foundation for a future research agenda. Critical perspectives are also offered for future practitioners.

In existing studies on the relationship between cultural events and urban transformation, neoliberalism narratives of urban entrepreneurship have been prominently emphasised. As this paper argues, discussions of the cultural economy rarely pay sufficient attention to the agency of the creative class, and often fail to consider that those modes of urban governance may differ. This paper draws on a study of the geographical factors involved in developing the FIRST International Film Festival, which was held in the city of Xining on the Tibetan Plateau. It explores the reasons for the relocation of the FIRST International Film Festival from Beijing to Xining, and the purposes and ways in which Xining employs the FIRST International Film Festival. From these findings, the study suggests that the geographical expressions of cultural industries themselves, as well as the diversity of development interests and considerations in a particular place, are essential to gain a comprehensive understanding of the connections between cultural events and the city.

Creative cluster urban policy, aimed at regenerating parts of cities in the UK, has been linked with ameliorating social exclusion in the extant policy literature. This is paradoxical given levels of exclusion within the creative and cultural industries in the UK. Moreover, this type of policy favours more publicly funded creative and cultural organisations as opposed to creativesmall and medium-sized enterprises including micro-organisations (SMEs) - those who primarily trade, and who make up the bulk of the sector. This is because creative SMEs have unique labour, organisational and economic realities which might limit their levels of social inclusion practice (SIP). Moreover, what SIP looks like for such an assorted array of organisational and sub-sectoral businesses, and how this benefits them, has not been accurately presented in the literature. If creative cluster policy is to deliver social inclusion (broadly defined) then it must contend with the business realities which exist for creative SMEs. This paper draws on research conducted in the established creative cluster of Hackney Wick and Fish Island (HWFI) in London. Using an operational definition for SIP derived from the policy literature as well as descriptive and nonparametric correlation analysis of survey data, this paper investigates three questions. First, does SIP by creative SMEs lead to business growth? Second, does SIP by creative SMEs lead to business longevity? Third, what are the implications for creative clusters? By addressing these three questions this paper aims to shed light on the costs and benefits of SIP for specifically creative SMEs and how this affects the clusters within which they are nested. While data limitations exist, findings suggest that short term, immediate rewards identified as business growth, and analysed through annual turnover, are not imminent for creative SMEs that pursue SIP. However, longer term benefits, analysed as business longevity or how long these businesses stay in operation, are apparent for those creative SMEs that do pursue SIP. This indicates a positive impact for creative clusters regarding ameliorating social exclusion but could be markedly improved if policy provides appropriate incentive structures for specifically creative SMEs who pursue or plan to pursue SIP.

This conceptual study explores the relationship between live popular music and the sustainability goals of the New Urban Agenda, which is the United Nation's vision on a sustainable future in the context of growing urbanisation. In connection to the Sustainable Development Goals, the agenda reflects a broad approach to sustainability. It addresses environmental, social, economic and spatial issues. We consider the opportunities and complexities of implementing these four forms of sustainability in live music ecologies. Therefore, this article discusses the impacts of musical performance on social relationships in cities, urban economies and the environment. Furthermore, we examine the spatial conditions needed to support these sustainability goals. To achieve the proposed goals, various stakeholders (e.g. music organisations, urban planners and policy-makers) will need to work together to, among other things, enhance inclusivity, mitigate the negative effects of live music on the environment, and address issues of gentrification.

This paper analyses how recent changes on crime governance strategies in Bogotá have carried a modification on how surveillance is put into practice in the city. We argue that the reduction of the violence linked to the armed conflict along with the implementation of transnational forms of governing security led surveillance practices to be focused on public spaces instead of individuals. For public spaces to be surveilled, a classification between secure and insecure spaces has been created, which rests upon an esthetic ideal of how those spaces (should) look like. This shift from biographical surveillance to geographical surveillance implies that individuals stop being the main target of classification and control. In their stead, public space is the main object of surveillance. Yet, the fact that individuals are not the core of this governance technology does not mean that they do not experience the consequences of it. The meanings that are arranged around the esthetics of public spaces indorse practices of self-surveillance in which citizens should watch over the city, and protect themselves from crime.

The European Capital of Culture Programme and the UK Cities of Culture Programme have emerged as important vehicles in the realisation of the promise of culture led regeneration. However, while value of bidding both in terms of cultural value and public value is well documented, less attention has been given to those cities that loose in their attempts to become Capital of Culture. Drawing on the works of Turner, we conceive of the bidding phase of a competitive cultural mega event competition as a liminal phase; where the ‘old’ rules of cultural organising are put into flux, and where novel or creative solutions can be re-imagined. Using a case study methodology, the paper draws attention to the ways the bidding process shapes the cities, and the legacy effects made possible through engagement in the process. We show how the competitive nature of the bidding process (often with cities competing with their close neighbours), enables a particular form of civic pride, that is, civicism to enrol stakeholder support to ‘do it for the bid’ and set the scene for transformation. We propose that the legacy of bidding is not just about winning (or not) but leveraging the process for sustainable change. We discuss how two places, in competing to host a cultural mega event, used the bid to create change to redress structural and social inequalities. While the emphasis in the current discourse is a ‘winner takes all’, we evidence that this does not do justice to the transformative effect of bidding for those cities that do not go on to host the event. The framework presented in this work offers cities a model to reflect on the transformative potential of bidding for yearlong cultural events.