Kreative in Berlin. Eine Expertise Zum Thema 'Geisteswissenschaftlerinnen In Der Kultur - Und Kreativwirtschaft' (German)

Manske, Alexandra; Merkel, Janet

doi:10.2139/ssrn.1478405

Cited by 4 publications

(5 citation statements)

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“…Provided it does not succeed in adjusting to market-economy value systems -in the form of design or advertising -the only channels able to secure subsistence are public subsidies, hope for a rare market success of an idea, or a precarious existence that is fed through several sources of revenue. In the words of Robert Kloostermann ( This duality of superstars, on the one hand, and precariousness, on the other, has meanwhile been examined widely and thoroughly, with regard specifically to Germany including the creative labour market of Berlin in particular (Geppert and Mundelius, 2007;Manske and Merkel, 2008;Merkel, 2008) but also elsewhere internationally (e.g. Christopherson, 2002;Gill, 2002;Hesmondhalgh and Baker, 2008;McRobbie, 2004).…”

Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

“…This duality of superstars, on the one hand, and precariousness, on the other, has meanwhile been examined widely and thoroughly, with regard specifically to Germany including the creative labour market of Berlin in particular (Geppert and Mundelius, 2007; Manske and Merkel, 2008; Merkel, 2008) but also elsewhere internationally (e.g. Christopherson, 2002; Gill, 2002; Hesmondhalgh and Baker, 2008; McRobbie, 2004).…”

Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

“…Gottschall and Schnell, 2000) do more than simply highlight ‘specific risks’ in cultural professions: such risks are also frequently accompanied by ‘specific strategies of risk mitigation’. In addition, the subjective views pronounced by individual professionals stress primarily that the self-determination they can achieve in their work can compensate, at least in part, for the insecurities that exist (Manske and Merkel, 2008).…”

Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

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Creative cities and the reflexivity of the urban creative economy

Thiel

2016

European Urban and Regional Studies

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The paper addresses the abundant literature on the creative city that has been generated following publication in 2002 of Richard Florida's work on the creative class. In particular, it is maintained that the discussion should be based more on a robust social economic analysis of urban economies. The paper starts with a brief review of the polarized debate on the creative city in which either the optimist obsession with a new growth sector is stressed or there is a focus of attention on its negative impact on urban society. Building on the idea of cultural production as a reflexive economic activity and on three empirical vignettes about how culture, the economy and the city interact, it argues that cultural production is an adaptable activity which is, however, permanently forced into a state of adaptation. Urban space and society have an ambivalent role here. On the one hand, the city offers adaptability: on the other hand, however, because this is the case, it fosters the need for permanent adaptation.

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Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

Section: By Way Of Illustration: Ambivalence and Diversity In The Crementioning

confidence: 99%

See 1 more Smart Citation

Creative cities and the reflexivity of the urban creative economy

Thiel

2016

European Urban and Regional Studies

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“…Gegenstand des folgenden Abschnitts sind mit Akteuren der Kreativwirtschaft aus Berlin Vertreter jener sozialen Gruppen, die oben konzeptionell als "Halbbürger" eingeführt worden sind (vgl. Manske/Merkel 2008).…”

Section: Risikolage Kreativarbeitunclassified

“…Manske 2007;Manske/Merkel 2008 Jahren; Selbständige in der Sparte "Wort" verdienen im Schnitt 28% mehr als KollegInnen in der "Musik" bzw. 23% mehr als in der "Bildenden Kunst" (Betzelt 2006: 21).…”

Section: Risikolage Kreativarbeitunclassified