The article discusses the problem of place affecting urban identity formation. The granite-lined embankment of the Tura River becomes a factor in reassembling urban identity and forming new urban sensuousness for the residents of Tyumen. The identity of Tyumen has long oscillated between the provinciality of the “village capital” and the nomadism of the “hub city”, serving as a transit point to service the oil and gas industry. Nowadays, city residents perceive the embankment not only as a sign of Tyumen’s integration into a modern urban context, but also as a metaphor for the escape from the boggy swamp of uncertainty to the terra firma of solid granite. The technological characteristics of the four-tier embankment (its height and length) mark it as an outstanding engineering structure. The visual excessiveness of the embankment, framing the banks of a small river, makes it a source of pride for the citizens. To clarify the process of urban identity formation, the authors introduce the term “urban hubris”. There are multiple connotations of the hubris concept, ranging from “pride” to “transgression of one’s own destiny”. In this article, urban hubris refers not only to specific traits of people initiating megaprojects but to transgressive change in urban identity. This change can be triggered by fundamentally new strategies in city design or, as in this case, by a large-scale urban development project, conveying new city images, creating new public spaces, changing citizens’ daily practices, and, ultimately, transforming their urban identity.
This article analyzes the relationship between scientific and artistic aspects in such a field of contemporary art as science art. Representatives of presentday art often postulate the harmony of rational-scientific and artistic-aesthetic fields in the art of science art. The criteria for such harmony and the criteria for equality of scientific and artistic elements are not very clear. Viewers often tend to see in the works of science art to a greater extent either a product of scientific activity, or, conversely, an artistic object. The ideas of the so-called “pure science”, which is absolutely impartial and strives only for the knowledge of the truth, are becoming a thing of the past. The main incentive for the development of science is the satisfaction of various social needs, which can be articulated to varying degrees. The approach called boundary-work makes it possible to understand that the boundaries between these aspects, on the one hand, are very mobile and flexible, on the other hand, they act as social structures built with certain goals. Thomas F. Gerin also used the term boundary-work to distinguish between scientific, unscientific, in a different sense scientific, and so on. Such a distinction is necessary when, for one reason or another, borders are rejected or, conversely, arbitrarily imposed and propagandized. Each time the boundaries of science are established anew, depending on the political and cultural context that defines the essentialist or constructivist understanding of scientific activity. Science art Science art clearly goes beyond both science and art, forming a kind of third field. The existence on the border creates openness not only for science and art, but also for other forms of consciousness. The analyzed field of art makes it possible to reveal the hidden connections between science and art and to assert that, apparently, we are now witnessing the emergence of a certain new type of activity that carries the features of both science and art. In addition, there is hope that science art will help deepen our understanding of both science and art, their essence and their role in human life and social reality, in human creativity and personal development.
Currently, the geospatial discourse is rapidly changing. This is caused by the search for identity, people's attempts to understand themselves and the space where they live in a new global and universal context. Geopoetics as a semantic field between poetry, philosophy and science, a method of space poetization, an attempt to create a particular language associated with the admiration of landscape, takes a special place among the areas of non-traditional geography, appearing in the conditions of a "spatial turn" in social sciences and humanities. The article considers some geopoetical projects in which the author participated, and concludes that they represent an important trend in the formation of a new geospatial discourse. All of them are not based on meta-narratives, imply the admiration of landscape and empathy for it; they often gravitate toward the performance, happening and street-art.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
customersupport@researchsolutions.com
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.