Abstract
A metaphor of palimpsest is used to describe the multivocal cultural landscapes since the 1970s. Interventions into new cultural / humanistic geography, semiotics and the theory of regional geography help to regard each layer of the palimpsest as a constructed context, centered by dominant representation of a place. Real-and-imagined landscapes are regarded as palimpsests lived through everyday practices seen as processes of (re)construction of new layers. Trying to unite those “constructing’ and “living’ perspectives is a challenging task for urban cultural agenda. A series of mobile quest games was made by the author for Moscow Agency for Area Development through Culture in order to construct new tourist sights outside city centre. This project is discussed as a case of constructing new geographical contexts (palimpsest’ layers) and the lived experience rediscovering the distant residential areas, traditionally regarded as standardized “non-places’, as becoming rich in symbolic capital.
Highlights
I’m thankful to Uliana Seresova, Assistant Professor of Academy of Public Administration of Moscow region (Russia) for her assistance in the empirical study mentioned in the article. 1 Every city is a place, a place we live in or a place we love, a place we are willing to leave or a place we hate
10 The model of a multivocal place as a palimpsest has become a result of cultural turn in geography, as I have mentioned above
It is aimed at the cultural development of distant residential areas of Moscow (Russia) city which lack both unique local imageries and place-specific practices
Summary
Electronic reference Ivan Mitin, « Constructing urban cultural landscapes & living in the palimpsests: a case of Moscow city (Russia) distant residential areas », Belgeo [Online], 4 | 2018, Online since 05 November 2018, connection on 09 October 2020. This text was automatically generated on 9 October 2020. Constructing urban cultural landscapes & living in the palimpsests: a case of. A model of palimpsest is a one I use hereby to consider that inevitable multiplicity. I use an example of a cultural project I’ve designed in Moscow (Russia) in order to describe how this original place model and these contradictory concepts are shaped and contested in a Post-Socialist city
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