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Wilfried van der Will

After considering the functions of capital cities this article argues that culture both as creative activity and as living heritage of customs and architectural assemblies plays a central role in the self-perception of present-day Berlin. The agents—public and private—that interact in the conception and execution of decisive initiatives in the remake of the city form an extensive cultural policy establishment. They derive their legitimation from regional and federal constitutions and from their command of attention in the public discourse. Berlin's claimed status as the most obvious German metropolis is not self-evident. Within the nation it is neither the center of finance, nor the media, nor the supreme courts. In Germany there are other towns and metropolitan regions with a similarly rich infrastructure that can compete at least nationally. But Berlin, building on Enlightenment traditions, is making a plausible effort in regaining its cosmopolitanism. Despite a host of problems, it is now surpassing the ethnic and cultural diversity that was lost in the years of Nazi dictatorship. Can it maintain its attraction for creative talent, both cultural and technological, in view of accelerating social divisions and gentrification?

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Rolf Dieter Hepp

impacts on social structures? The labor market provides socioeconomic conditions and (self-)governmental techniques under which people within the creative industries shape their self-awareness (“subjection”). People within creative industries like artists

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A megastructure in Singapore

The “Asian city of tomorrow?”

Xinyu Guan

by the state were leased to artists and cultural organizations, or turned into offices hosting creative industries in the 1990s ( Chang 2016 ; Hutton 2012 ). This process, for which T. C. Chang proposes the term Singapore-style gentrification ( 2016

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Engaging Anthropological Legacies toward Cosmo-optimistic Futures?

Sharon Macdonald, Henrietta Lidchi, and Margareta von Oswald

Memory Studies Reading Group of the Culture, Media and Creative Industries (CMCI) and German Department. NOTES 1. Conference website (see ). 2. In more recent work, he still keeps the focus on

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

volatile and uncertain creative industries to look to science for formulas that can reduce risk of failure—in this case making a bad movie. However, filmmakers should beware: we have not asked, nor can we answer, whether increasing the fractality of shot

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From the Auto-mobile to the Driven Subject?

Discursive Assertions of Mobility Futures

Katharina Manderscheid

015 enhances not only physical mobility but also virtual mobility, reducing the presence in urban space in favor of presence in the “space of flows.” 58 Typically, the mobile lives of middle- and upper-class knowledge workers (working in creative

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Don Nonini

.1086/666391 Henneken , Sophie , and Dawn Bennett . 2016 . Self-management of work in the creative industries in the Netherlands . International Journal of Arts Management 19 ( 1 ): 31 – 38 . Huron , Amanda . 2015 . Working with strangers in saturated

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Andreea Şerban

the ‘Cool Britannia’ movement of the 1990s in the UK, ‘Cool Japan’ recycled the tactics and logistics of its British counterpart, aiming to promote this ‘coolness’ globally by exploiting its cultural capital and creative industry. 8 Nevertheless, and

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Refugia Roundtable

Imagining Refugia: Thinking Outside the Current Refugee Regime

Nicholas Van Hear, Veronique Barbelet, Christina Bennett, and Helma Lutz

creative industries, education, and digital commerce and services, and some employment has been reluctantly negotiated in Special Economic Zones located between Refugia and Somewhereland. Also by mutual agreement, some Refugians can work in Somewhereland

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Toward Comprehensive Conceptualizations of Contemporary Public Health

Participation as the Cornerstone of Appropriate Methodologies

Harry Nijhuis

-owns-our-cities-and-why-this-urban-takeover-should-concern-us-all . Schwarz , M . 2015 . “ Commons: From Public/Private to Collaborative Commons .” Straatwaarden Atelier 2 : 6 - 9 . Amsterdam : Amsterdam Creative Industries Network . Sennett , R . 1998 . “ The Spaces of Democracy .” Raoul Walleberg Lecture