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  1. 2 Studia Humanistyczne AGH

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  1. 2 Krivolap A.

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  1. 2 2022

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Glass Man Identity: From Big Brother to Covid Passport

100%
Krivolap A.
Studia Humanistyczne AGH
|
2022
|
vol. 21
|
issue 2
31-39
EN
This article will investigate the communication problems creating cultural identity and saving private space in the era of QR-codes and vaccination passports, in which every step offline and click online is recorded and stored in databases. The author proposes using the metaphor of the Glass Man to explain the status of the current cultural identification process. The term has come from medical terminology, where it means “imperfect osteogenesis”, a condition when bones are weak and unable to provide the necessary level of support. The body lacks the stamina and resistance required to function properly. The identity of Glass Man means transparency by default on the one hand, but fragility on the other. The Glass Man is a person without the need to hide anything. Nothing to hide, nothing to be ashamed of  – it is a new mode of communication, with no taboos or ethical limits applying to topics of conversation. The Glass Man identity also means transparency, not just for the individual but also for the corporation acting in the mediated public space. The Chinese social credit system can serve as a good example of how social control disciplines citizens and increases levels of social control. We can hide something about ourselves from other users, but not from service owners. The Glass Man identity means a new type of human, a new type of balance between control and power. Glass Man means a person who does not need to hide anything. It is a new mode of both communication and power. Big Brother is no longer merely a metaphor or a reality TV show. This is a “brave new world,” and most likely our new reality.
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Creative Industries as Platform for Citizen Participation in Cultural Transformation of Minsk Urban Space

100%
Krivolap A.
Studia Humanistyczne AGH
|
2022
|
vol. 21
|
issue 4
37-50
EN
Creative industries do not make revolutions in city planning but transform the ways of thinking about and practicing urban space development. In the context of Minsk, Belarus, creative industries are a part of the contemporary urban infrastructure transformation that is reestablishing the former Soviet urban space. The aim of this article is to document and analyze the ways that creative industries turn the urban spaces of Minsk into participatory platforms for cultural transformations. The development of these creative industries in Belarus has played a crucial role in transforming urban spaces into new inclusive cities. The distinctive feature of Belarusian creative industries is their embeddedness in the spaces of Soviet cities. Empirically, this text is based on the findings of a qualitative empirical study in the framework of grounded theory. The research seeks to understand the self-narrative and self-identification of the new creative class in Minsk (spring and summer 2018). The respondents were people who are involved in the process of developing creative industries in Belarus.
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