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| - | Fig 6: perceptions and behaviors of Bogota citizens regarding civic culture and the environment. | + | Fig 6: perceptions and behaviors of [[14|Bogota citizens]] regarding civic culture and the environment. |
| Number of Survey Respondents Per Locality. N: Number of localities. M: Average number of respondents in the category. S: Standard deviation of the number of respondents in the category. Min: Minimum. Max: Maximum. (Waniez,2024) | Number of Survey Respondents Per Locality. N: Number of localities. M: Average number of respondents in the category. S: Standard deviation of the number of respondents in the category. Min: Minimum. Max: Maximum. (Waniez,2024) | ||
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| - | Meanwhile, Lucci (2025)’s performance in [[17|Museo Libre]] provided potential for the future transformation of La Doña Juana Landfill. He utilized [[36|tires]] as the medium for artistic expression. These tyres originally waste along the [[34|Tunjuelo river]] and the [[20|quebrada_limas_river]]. | + | Meanwhile, Lucci (2025)’s performance in [[17|Museo Libre]] provided potential for the future transformation of La Doña Juana Landfill. He utilized [[36|tires]] as the medium for artistic expression. These tyres originally waste along the [[34|Tunjuelo river]] and the [[20|quebrada_limas_river]]. |
| - | In conclusion, the emergence of Museo Libre was a public education initiative, offering locals a possibility for waste utilization to minimize unreasonable utilization of landfill. It also drew attention to the conditions of rivers and people living in the neighbourhood and resulted in multiple factors. This outcome further affected the surrounding environment and locals, causing the death of livestock and illness. (Lucci, 2025). Therefore, the consequence of the landfill operation, management and subsequence environmental issues remains uncertain. | + | In conclusion, the emergence of [[17|Museo Libre]] was a public education initiative, offering |
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| - | Reference List: | + | |