1,721,044 research outputs found
Branding, promotion, and the tourist city
No full textThe focus of this chapter is the relationship between cities, media, and tourism. It commences with a discussion of the image as a central element of tourism before considering the more recent forms of media and, in particular, social media which construct the tourist space and its experience. It then moves on to examine urban tourism and the features and elements that mark it as a specific form of tourism, and important here are the practices and processes of city branding. I show that travel and tourism (including that associated with the urban) are mediated both by symbolism and situated interaction
Cities of Feet and Hands: Urban Habitations
No full textWhen Michel de Certeau asserts that walking manipulates spatial organizations, he is clearly employing a metaphor of manual activity. In this chapter, I discuss de Certeau’s bustling, mobile city of feet, but in pursuing his notion of manipulation I also want to discuss what Ash Amin and Nigel Thrift have named the city of hands. These geographers propose that hands, which are involved in the deft, skillful manipulation of things like computer keyboards and car steering wheels, are crucial yet largely forgotten elements of everyday urban living. The main contention of my chapter is that, taken together, such cities of feet and hands, of moving, knowledgeable bodies in practical, sensuous, tactile dealings with environments and technologies, are important considerations for urban cultural analysis. This is because they are inextricably linked with matters of dwelling in the city or, in the terms of my subtitle, with urban habitations
Culture, planning, citizenship
No full textCultural planning is a strategtc approach to city building and reimaging, and community cultural development that, at its most modest, involves establishing arts precincts and nurturing local creativity. More ambitiously, it often also includes supporting a 'creative cities' agenda, repositioning and expanding the arts as the 'creative' or 'cultural industries', and advocating a range of initiatives to attract and satisfy footloose capital and the so called 'creative class'. It would be misleading to represent cultural planning as a cohesive body of thought or body of policy interventions and, indeed, the name is not even universally used. Nevertheless, it is the case that worldwide since the late 1970s and early 1980s there have been various attempts bv local governments to use the arts and cultural resources strategically in the development of precincts, cities and regions and the term cultural planning is often used generically to refer to such approaches (Evans 2001)
Cultural policy in Australia : key themes in the governance of the arts
No full textThese observations are the starting point for this chapter which examines the ways in which key aspects of the remit of contemporary cultural policy in Australia are being imagined. It is particularly concerned with how the themes of the economy, education and culture are framed including their intersections with other policies. To this end, the chapter considers a recent cultural policy framework from each of the three levels of government in Australia: the former Federal Labor Government’s Creative Australia (Commonwealth of Australia, 2013); the NSW Arts and Cultural Policy Framework (Arts NSW, 2015) of the conservative Liberal-National Party
Government; and City of Sydney’s Creative City: Cultural Policy and Action Plan 2014–2024 (2014). Specifically, the chapter aims to do three things: first, examine the ways in which the triad of culture, art and creativity are positioned in the selected policies; second, ask how these three policies frame arts education and training; and third, consider the importance (or otherwise) of a creative industries agenda. My intention
is not to examine the detail of particular programs, funding schemes and initiatives, nor is it to provide an exhaustive analysis of each of the policies, such endeavours would clearly be beyond the scope of a single chapter and the policies are intended to be emblematic rather than highly specific. The task then is to consider particular discourses, assumptions and expectations that are implicit in the policies, and to provide
some insights into the limits of policy and the contexts within which contemporary cultural production is occurring. This work is important because before arguments regarding the need or otherwise for cultural policy can be made, it is necessary to have a sense of what cultural policy aims to achieve and whose interests it seeks to support. I turn first to a brief consideration of the background to cultural policy and the role played by different levels of government in Australia in its development and operation
In the Air Tonight: The Struggles of Communicating About Urban Environmental Quality
No full textThis chapter discusses three aspects of urban environmental communication. First, I consider how pollution impacts the city; subsequently, I ponder the forms of pollution communicated, stressing, in particular, issues of controversy, lack of standardization, and efficacy; finally, I look at the question of the reception of the information—that is, the struggle related to governing pollution awareness. The chapter will assume air pollution as a paradigmatic case of urban environmental communication. My choice is motivated by the fact that air pollution communication can be considered the earliest, largest, most systematic, and most extensively studied attempt to communicate urban environmental quality. At the same time, I hold that many of the critical junctures concerning environment, cities, and media are applicable to other kinds of pollution
Introduction : the Australian art field : frictions and futures
No full textThe aim of this book is to probe key challenges facing the contemporary Australian art field by investigating the structure of the visual arts as an element of the broader field. The goal in undertaking this examination is both to contextualise longer-term changes affecting the ways in which visual art is produced, distributed, and consumed in Australia, as well as to place them within the context of parallel and intersecting international trends. In exploring the Australian visual art field, it is necessary also to consider the practices, policies, and institutions that organise that field and constitute its defining structures and contradictions. This is a framework inspired not only by the political and economic occurrences in Australia, but also, importantly, by Pierre Bourdieu’s theoretical contributions in his analysis of the French art field. Tracing the processes and frictions of the Australian art field, which is to say a space of human action, competition, and achievement in the visual arts, is to examine a field that is comprised not only of structures and institutions, but of human strategies, tactics, and what Bourdieu called ‘habitus’ or dispositions
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Situating leisure in the cultural economy
No full textContemporary leisure practices are increasingly included within broader cultural planning strategies designed to revitalise urban economies and spaces. This incorporation, however, is not always straightforward despite being frequently conceived as a guarantee of both economic and socio-cultural success. Indeed, there are a series of tensions that lie at the heart of the intersection of the cultural economy, cultural planning and leisure that warrant investigation. Drawing on recent studies in the fields of sociology,
cultural policy studies, and leisure and tourism studies, this chapter probes such tensions and their implications for the management, control, and use of public space. In particular, by examining the distinct, yet interrelated, leisure domains of art and entertainment, tourism, and, what has come to be called, the night-time economy, consideration is given to the role of leisure provision and consumption in the cultural economy. The chapter raises questions about the extent to which cultural and economic goals and the leisure needs and wants of diverse populaces can be met by cultural planning focused on precinct development, the creative economy and city imaging. It suggests that despite a rhetoric of inclusivity and heterogeneity the result is often spaces that are - at least at given points in time - dominated by a single sociocultural group. Equally troubling is the tendency toward deployment of 'one-size-fits-all'
reimaging schemes which result not in diversity and distinction but in duplication. To alleviate such problems the chapter argues for greater levels of community engagement and 'creativity' in the delivery of urban leisure and the (re)development of urban spaces
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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