Conflicts over an emerging creative space. A cultural quarter development in Belgrade
Bibliographic record
Abstract
In post-transitional city developments in Central and Eastern Europe, the trend of increasing importance attached to artists and other stakeholders in the creative sector has come with delay. Particular in Serbia this delay is even more pronounced, because of the complex situation in the country at the turn of the 20th and the 21st century (civil war, isolation, late political transition, etc.). Whereas the rise of creative milieus and the increasing role of artists in shaping of city quarters became a widespread and well-known trend in Western cities, Southeastern European cities for a long time did not elaborate any strategies focused on involving artists in contemporary urban developments. Thus, development of city quarters aimed at strengthening creativity and creative businesses is a new phenomenon in the urban centres in this part of Europe. On the one hand, these spaces are shaped by creative dynamics and the inspiration of artists and, on the other, by governance mechanisms. Our research is focused on the quarter of Savamala in Belgrade. In the case of this emerging "cool place" various stakeholders (policy makers, non-governmental organizations, artists, residents and entrepreneurs) are in use conflicts when it comes to the development or planning of this part of the city. Through interviews with stakeholders we will identify conflict lines and conflict areas in this specific case, as well as analyze the governance mechanisms which shape the appearance of the quarter. We aim to get a clear story about particular strategies and dynamics which lay behind the transformation of the area. We are reconsidering the development initiatives and the public image of Savamala as a quarter of creativity, and we are questioning if these changes in urban space are mainly connected to artists’ involvement. We also seek to question the future development possibilities taking into account the various stakeholders involved, their interests, and power.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.010 | 0.009 |
| Scholarly communication | 0.010 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.001 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".