3 resultados para Public spaces -- Spain -- Cádiz -- Contests

em Instituto Politécnico do Porto, Portugal


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O envelhecimento da população é um fenómeno das sociedades contemporâneas simultâneo à crescente modificação do meio urbano. De modo a responder a estas alterações a Organização Mundial de Saúde (OMS) lançou o projeto Cidade Amiga das Pessoas Idosas que preconiza a adaptação das estruturas e serviços para que estes sejam acessíveis e promovam a inclusão dos cidadãos idosos. A presente investigação, de natureza qualitativa e exploratória, tem como objetivo verificar se a cidade do Porto possui características de uma cidade amiga das pessoas idosas através da visão de prestadores de serviços a pessoas idosas das freguesias de Paranhos, Cedofeita, St. Ildefonso, Bonfim e Campanhã. Pretende, assim, ser um contributo para o desenvolvimento do projeto Cidade Amiga das Pessoas Idosas na cidade portuense. Para tal, realizam-se 3 focus groups com prestadores de serviços selecionados a partir de uma amostragem por conveniência, onde se utiliza um guião de entrevista semi-estruturado com as seguintes categorias: espaços exteriores e edifícios, transportes, habitação, participação social, respeito e inclusão social, participação cívica e emprego, comunicação e informação e apoio comunitário e serviços de saúde. É possível verificar que os participantes partilham, de forma geral, uma imagem positiva da cidade do Porto, contudo, têm tendência a iniciar o discurso pelas características negativas da cidade. Colaboram também com sugestões de melhoria para a cidade. Pela perspetiva dos participantes é possível verificar que aspetos relacionados com espaços exteriores e edifícios, respeito e inclusão social e apoio comunitário e serviços de saúde se destacam pela negativa, enquanto aspetos intimos à participação social das pessoas idosas bem como, à comunicação e informação na cidade do Porto são na generalidade elogiados. Desta forma, indicam como positivo o aparecimento de novas iniciativas como as Universidades Seniores ou o projeto “Afetos” desenvolvido pela Misericórdia; as ofertas dirigidas à população sénior desenvolvidas pelas Juntas de Freguesia e a presença de jornais de distribuição gratuita, em espaços públicos. Por oposição, identificam como pouco amigo das pessoas idosas os passeios pouco largos, com obstáculos e pouco cuidados; a falta de casas de banho públicas; o desinvestimento em atividades intergeracionais e a carência de lares públicos na cidade.

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Cities are increasingly expected to be creative, inventive and to exhibit intense expressivity. In the past decades many cities have experienced growing pressure to produce and stage cultural events of different sorts and to develop new strategies that optimize competitive advantages, in order to promote themselves and to boost and sell their image. Often these actions have relied on heavy public investment and major private corporation sponsoring, but it is not always clear or measured how successful and reproductive these investments have been. In the context of strained public finances and profound economic crisis of European peripheral countries, events that emerge from local communities and have low budgets, which manage to create significant fluxes of visitors and visibility, assume an increased interest. In order to reflect and sketch possible answers, we look to an emerging body of literature concerning creative cities, and we focus on the organisation of a particular cultural event and its impact and assimilation into a medium size Portuguese city. This paper looks at the two editions (2011 and 2012) of one of such events – Noc Noc – organized by a local association in the city of Guimarães, Portugal. Inspired by similar events, Noc Noc is based on creating transient spaces of culture which are explored by artists and audiences, by transforming numerous homes into ephemeral convivial and playful social ‘public’ environments. The event is based on a number of cultural venues/homes scattered around the old and newer city, which allows for an informal urban exploration and an autonomous rambling and getting lost along streets. This strategy not only disrupts the cleavages between public and private space permitting for various transgressions, but it also disorders normative urban experiences and unsettles the dominant role of the city council as the culture patron of the large majority of events. Guimarães, an UNESCO World Heritage City was the European Capital of Culture in 2012, with a public investment of roughly 73 million euro. By interviewing a sample of people who have hosted these transitory art performances and exhibitions, sometimes doubling as artists, the events’ organizers and by experience both editions of the event, this paper illustrates how urban citizens’ engagement and motivations in a low budget cultural event can strengthen community ties. Furthermore, it also questions the advantages of large scale high budget events, and how this event may be seen as unconscious counter movement against a commodification of cultural events and everyday urban experience at large, engaging with the concepts of staging and authenticity.

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Given the significant impact that cultural events may have in local communities and the inherent organization complexity, it is important to understand their specificities. Most of the times cultural events disregard marketing and often marketing is distant from art. Thus an analysis of an inside perspective might bring significant returns to the organization of such an event. This paper considers the three editions (2011, 2012 and 2013) of a cultural event – Noc Noc – organized by a local association in the city of Guimarães, Portugal. Its format is based in analogous events, as Noc Noc intends to convert everyday spaces (homes, commercial outlets and a number of other buildings) into cultural spaces, processed and transformed by artists, hosts and audiences. By interviewing a sample of people (20) who have hosted this cultural event, sometimes doubling as artists, and by experiencing the three editions of the event, this paper illustrates how the internal public understands this particular cultural event, analyzing specifically their motivations, ways of acting and participating, as well as their relationship with the public, with the organization of the event and with art in general. Results support that artists and hosts motivations must be identified in a timely and appropriate moment, as well as their views of this particular cultural event, in order to keep them participating, since low budget cultural events such as this one may have a key role in small scale cities.