W roku 2019 mija pięćdziesiąt lat od opublikowania przez Arnstein tekstu, który stał się jednym z bardziej wpływowych opracowań dotyczących partycypacji społecznej. Autorzy artykułu odnoszą się do niego i stawiają pytanie o kształt „drabiny partycypacji” w kontekście zachowań partycypacyjnych współczesnych wielkomiejskich społeczności lokalnych. Dokonują oni przeglądu stanu wiedzy, formułują konceptualną propozycję rozwinięcia „drabiny” i obrazują swoje rozważania teoretyczne poznańskimi studiami przypadków. Współczesne, złożone strukturalnie i coraz bardziej uświadomione społeczeństwo ruchów społecznych, organizacji pozarządowych, ale i zwykłych obywateli rozciąga, zdaniem autorów, „drabinę partycypacji” w kierunku dendrytu obejmującego swym zasięgiem także formy buntu. Odpowiadając na te kwestie autorzy sformułowali nowe szczeble „drabiny” Arnstein: chaos, przebudzenie, radykalizacja, nieposłuszeństwo obywatelskie oraz bunt, a także podjęli rozważania nad szerszą interpretacją uspołecznienia zarządzania jednostką terytorialną, wychodzącą poza współdecydowanie.

The author presents changes which took place in the 3 eld of ideas of presenting art to the city audience at the end of the twentieth century. She draws attention to the importance of a movement of so-called “new museology”, which revised the museum practitioners’ attitudes towards art viewers. She presents taken from Poland and Europe practices of realizing artistic practices outside exhibition halls, directly in the public space, with immediate access to the viewer, who also is invited to participate in a process of creation of the art work together with the artist. She indicates a consequence of this practice, which is a formation of a so-called “new audience” – conscious of their expectations towards cultural institutions. In the end, the author mentions a research project on the phenomenon of the “new audience” initiated in the framework of the international project “Artecitya”.

The author shows the activity of the inhabitants in the process of revitalization which took place in Poznan at the turn of the 20. and 21. century. Overview of actions demonstrates the transformation of instruments and methods of conduct, but also is a presentation process of self-education of all participants: the associations, municipal authorities and residents. Relevant are also the examples of intentional educational and cultural initiatives addressed to the residents and held with residents in the framework of the Urban Renewal Program. Accumulation of these activities led to stimulate of civic awareness, neighborly relationship and local identification, but also initiated the transformation of individual mental. As a result, they developed a multi-threaded relationship: realization by the people of the right to co-decision and shared responsibility influences the attitudes of representatives of the local authorities and a kind of reciprocal social education, leaning to the subjective treatment of all participants of social processes.

Celem artykułu jest próba określenia potencjału do krystalizacji grup interesu w partycypacyjnym zarządzaniu miastem. W pracy zarysowano podwaliny tego modelu oraz zwrócono uwagę, że wdrażanie przez samorząd paradygmatu partycypacyjnego oznacza włączenie we współrządzenie mieszkańców w odmiennymi oczekiwaniami. Wykorzystując dane Wrocławskiej Diagnozy Społecznej 2014, zidentyfikowano pięć potencjalnych grup interesu. Zdefiniowano także potencjał ich mobilizacji do wyrażania i obrony swoich interesów. Ustalono również, w jakim stopniu poziom zaangażowania obywateli w artykulację wspomnianych interesów wynika ze stylu życia, a jak dalece wpływa na to ulokowanie jednostek w strukturze społecznej. Końcowa część odpowiada na pytanie o koncyliacyjny i antagonistyczny potencjał wyodrębnionych orientacji, a także o przyszłość polityki miejskiej.

This article describes the role of street art in the context of the city’s competitiveness and creativity. In addition, the study examines the perception of street art by residents of various cities in terms of its acceptance, associations, and impact on the image and competitiveness of cities. Based on selected examples from Poland, manifestations of street art were indicated as a determinant of the direction of changes in the image of the city’s architecture and urban layout. The entire discussion was set in the framework of a literature review, case study, and survey research. The article deals with the issues of urban artistic articulations and their impact on the increase in the level of social participation, growing creativity in public space and increasing the attractiveness and competitiveness of the city. By presenting numerous examples, the importance of street art was indicated as an element influencing the city’s popularity and attractiveness. Moreover, the manner of perception of street art among residents was presented, taking into account their place of residence in terms of population. The interdisciplinary approach implemented made it possible to confirm the purposefulness of using the activities of street artists in the space of our existence, in giving a unique identity of urban spaces, thus influencing the competitiveness of cities. Acceptance and positive perception of street art should make city authorities aware of how important this artistic current can become from the perspective of managing the city’s image.

Forty years ago Antonina Kłoskowska built up a universal paradigm of three social frames of culture. They included: frame one, i.e. local production of symbolic processes, close to folk culture; frame two — understood as a network of local institutions of culture; frame three — involving a radiation of pan-local centers, in particular a reception of contents transmitted by mass media. A basic sociological criterion of differentiating between these categories includes a type of contact, and adjacency of sender and recipient of symbolic communication. Currently, following years of development of digital means of communication, computer networks and fiber optic technologies, audio-visual systems, mobile telephones, etc. a proposal of frames of culture must be examined again. New media shape new vehicles of expression (e.g. hypertext), but most importantly they inspire specific social relations. Discussion over cultural framework is also triggered by accelerated processes of economic and social transformation, advanced globalization, increase of living standards and dissemination of consumption attitudes, changes in leisure activities of the middle class. In more narrowly understood domain of institutional and professional culture one witnessed the processes of European deregulation and release of culture from state, which in Eastern Europe was accompanied by abolition of censorship and a different model of culture distribution, which is controlled by market and cultural (creative) industry rather than by central government. As a result, the nature of direct communication among people is subject to ongoing transformation. We witness more and more indirect cultural communication (off-line and on-line). Modified and broadened proposal of social frames of culture includes five rather than three paradigms, namely: the culture of indirect communication, the culture of associations and volunteers; the culture of local institutions (public and private), mass culture versus pop culture, cyber-culture, culture of network community.

One has to underline that in the new reality of our civilization we can still use analytic principles of Kłoskowska’s typology. First, we can treat spiritual culture as a phenomenon of autotelic semiosis with pragmatic definition of sign; second, while describing social functioning of culture we can use a sociological criterion of contact and adjacency.