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Poor, but Sexy

Reflections on Berlin Scenes

Edited By Geoff Stahl

Poor, But Sexy: Reflections on Berlin Scenes offers readers a varied cross-section of the city’s scenes, providing a prismatic view of one of Europe’s mythical cultural capitals. The authors gathered here address a range of topics, including Turkish gay clubs, queer filmmaking, record labels, the legendary Russendisko, electronic music festivals, the city’s famous techno scene, the clandestine dimensions of its nighttime club culture, and the fraught emergence of the Mediaspree. With the shifting context of post-Wende Berlin its backdrop, this collection puts into relief an electic array of case studies, presenting to readers interested in exploring urban issues a number of critical and analytical perspectives on the city’s cultural life as it moves into the twenty-first century. Poor, But Sexy is an important contribution to the critical analysis of the cultural spaces in the city, and allows readers access to one of the few scholarly overviews of Berlin’s varied cultural life available in English.
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Field Configuring Events: Professional Scene Formation and Spatial Politics in the Design Segment of Berlin: Bastian Lange

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BASTIAN LANGE

Field Configuring Events: Professional Scene Formation and Spatial Politics in the Design Segment of Berlin

Fuzziness of New Creative Markets

The very high dynamism of creative industries, their highly informal and less institutionalised context makes it very difficult to apply common economic definitions to this field. They very often cannot grasp the very flexible nature of theses constantly shifting and moving markets (Bilton 1999; Lange/Kalandides, et al 2008; McRobbie 2002; 2003). The very high mobility in these markets is accompanied with high demands of flexibility of entrepreneurs and their practices to stay in these constantly moving and shifting markets. It can be assumed that the traditional understanding of entrepreneurial practices cannot be equally adapted to the way cultural and creative entrepreneurs operate and describe themselves in the newly emergent markets within the wider field of creative industries (Hjorth 2004; Lange 2008; Rae 2002). Following the conceptual approach by Chris Steyaert, a profound reconsideration of ‘entrepreneurship’ in respect to space has to be taken into consideration in order to fully understand the complex nature of these agents and their degree of flexibility (Steyaert/Katz 2004). The politically induced interest to promote creative industries is largely based on its fuzziness. This enables us to fully exploit the strategic potential of the core creative industries practices to transfer to new fields, such as urban housing, social policy, etc.. In doing so, the process of delivery of formerly state based assignments to the power of the free...

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