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Dynamics of urban space

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EN
This study analyzes urban areas which comprise an urban center and neighboring municipalities. As an administrative unit, a city is an organism full of internal and external connections, and it undergoes constant change at the micro and macro level. A city's internal structure is modified over time in response to changes in the local environment, and those changes often affect the surrounding territories. This article proposes a methodology for analyzing the dynamics of urban space in five Polish cities (Białystok, Kielce, Olsztyn, Toruń and Rzeszów) which were surveyed in 2002-2010. The analysis was based on the assumption that dwellings constitute the largest part of a city, and that they are most susceptible to change. An observer examining the city from within will note that a critical level has been reached (an observer positioned in a rural area will report a decrease in the surface tension of the urban/rural boundary). In consequence, progressing residential development in areas adjacent to the city contributes to urban sprawl. In view of the above, a research hypothesis was proposed that residential area per capita is the most robust indicator of economic and spatial changes in an urban area.
EN
The atmosphere of a big city, as well as registering the motion of the city as a symbol of modern industrial civilization, fascinated the first directors of photography at the turn of the 20th century. Some years later, the subject of the metropolis was developed by avant-garde artists. Among early cinematic images of the city, the foremost place is held by Walter Ruttmann’s 1927 film Berlin: Symphony of a Metropolis. It was the first multifaceted and comprehensive documentary picture of the city. The city is shown without any anecdote or story, without an individual hero, distinct from theatre or literature. Ruttmann shows the diversity, complexity and co-dependence of the urban organism, which becomes something of a machine in perpetual motion. Ruttmann’s film unveils the uniformity of big-city life, the unification of the imagination, expectations, needs and dreams. The world of “Berlin” is created mainly by editing. Motion – the result of artistic endeavours, together with the rhythmic order of the images, determine the artistic vision of the film as a whole. Ruttmann’s rhythmic interpretation aims at breaking the boundaries between art and non-artistic reality.
PL
The City in Perpetual Motion. Berlin: Symphony of a Metropolis (1927) by Walter RuttmannThe atmosphere of a big city, as well as registering the motion of the city as a symbol of modern industrial civilization, fascinated the first directors of photography at the turn of the 20th century. Some years later, the subject of the metropolis was developed by avant-garde artists. Among early  cinematic images of the city, the foremost place is held by Walter Ruttmann’s 1927 film Berlin: Symphony of a Metropolis. It was the first multifaceted and comprehensive documentary picture of the city. The city is shown without any anecdote or story, without an individual hero, distinct from theatre or literature. Ruttmann shows the diversity, complexity and co-dependence of the urban organism, which becomes something of a machine in perpetual motion. Ruttmann’s film unveils the uniformity of big-city life, the unification of the imagination, expectations, needs and dreams. The world of “Berlin” is created mainly by editing. Motion – the result of artistic endeavours, together with the rhythmic order
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