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  <front>
    <journal-meta>
<journal-id journal-id-type="publisher">GH</journal-id>
<journal-title-group>
<journal-title>Geographica Helvetica</journal-title>
<abbrev-journal-title abbrev-type="publisher">GH</abbrev-journal-title>
<abbrev-journal-title abbrev-type="nlm-ta">Geogr. Helv.</abbrev-journal-title>
</journal-title-group>
<issn pub-type="epub">2194-8798</issn>
<publisher><publisher-name>Copernicus Publications</publisher-name>
<publisher-loc>Göttingen, Germany</publisher-loc>
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    <article-meta>
      <article-id pub-id-type="doi">10.5194/gh-72-157-2017</article-id><title-group><article-title>“Creative city” policy mobilities as transformation of dispositives
– arrangements of “networking” in the European Metropolitan Region of
Nuremberg</article-title>
      </title-group><?xmltex \runningtitle{``Creative city'' policy mobilities as transformation of dispositives}?><?xmltex \runningauthor{M.~Ortegel}?>
      <contrib-group>
        <contrib contrib-type="author" corresp="yes" rid="aff1">
          <name><surname>Ortegel</surname><given-names>Moritz</given-names></name>
          <email>moritz.ortegel@posteo.de</email>
        </contrib>
        <aff id="aff1"><institution>Institute of Geography, Friedrich-Alexander University, Erlangen-Nürnberg, 91058, Germany</institution>
        </aff>
      </contrib-group>
      <author-notes><corresp id="corr1">Moritz Ortegel (moritz.ortegel@posteo.de)</corresp></author-notes><pub-date><day>21</day><month>April</month><year>2017</year></pub-date>
      
      <volume>72</volume>
      <issue>2</issue>
      <fpage>157</fpage><lpage>169</lpage>
      <history>
        <date date-type="received"><day>11</day><month>April</month><year>2016</year></date>
           <date date-type="rev-recd"><day>21</day><month>March</month><year>2017</year></date>
           <date date-type="accepted"><day>27</day><month>March</month><year>2017</year></date>
      </history>
      <permissions>
<license license-type="open-access">
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      <abstract>
    <p>Following the calls for context-sensitive policy
mobility research, I propose to analyze policy mobilities as
transformation of dispositives. Michel Foucault's context-sensitive notion
of dispositive stresses the context-specific, heterogeneous relations
between linguistic and non-linguistic practices, subjectivities and
materialities as well as the influence of power/knowledge and sedimented
features in policymaking. These sensitivities are valuable contributions to
policy mobility research.</p>
    <p>I draw on empirical research on “creative city” policies, which are
re-embedded in the European Metropolitan Region of Nuremberg, to illustrate
that line of argumentation. I reconstruct and compare related
<?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?>: the mobile creative city policies, the historical and
current contexts of the policies' re-embedding. Consequently, I use
arrangements of networking as an empirical lens to understand the
differing logics that shape the re-embedding of creative city policies in
the European Metropolitan Region Nuremberg and the mutual transformation of
policies and their contexts.</p>
  </abstract>
    </article-meta>
  </front>
<body>
      

<sec id="Ch1.S1">
  <title>Thinking about the spread and application of policies as policy
mobilities</title>
      <p>To be “creative” has become one of the fastest-moving imperatives in urban
development. Policy mobility research addresses the increasing spread and
application of such translocal and transscalar policies. Policy mobility
approaches evolved from a critical debate on policy diffusion and policy
transfer literatures, which are criticized for their methodological
nationalism and the assumption of a rational, linear and literal transfer
process (McCann and Ward, 2012; Peck and Theodore, 2010). In contrast,
policy mobility approaches conceptualize “policymaking
as a global-relational, social and spatial process, which interconnects and
constitutes actors, institutions and territories” (McCann and Ward, 2012:328).</p>
      <p>According to McCann and Ward (2012:328–330) policy mobility approaches
have four features in common. Firstly, they draw on a certain set of
literatures with different emphases: sociological work on mobilities,
materialist political–economic perspectives and assemblage approaches.
Secondly, mobility is not understood as a movement from A to B. Instead,
Cook (2008), McCann (2011a) and Ward (2006) conceptualize the mobility of
policies as contingent, contextualized and power-laden processes of
disembedding, mobilizing and re-embedding policies into specific, locally
differentiated contexts. Thirdly, these processes of mobility mutually
transform the policies, actors, institutions, things and places involved
(Cook, 2008:791; McCann, 2011a:111). The local context with its
development projects is of paramount importance regarding the transformation
of policies (Ward, 2006:56–57). Consequently, there are highly
differentiated “creative city” policy geographies around the globe (Prince,
2010). Fourthly, the common methodological set includes ethnographies that
follow people, policies and places as well as the study of situations.</p>
      <p>Against this background, I am following calls for more context-sensitive
policy mobility research. Power–knowledge  relations and more extensive
temporalities are important dimensions within processes of re-embedding that
need to be more explicitly and context-sensitively addressed. I argue in
favor of analyzing the re-embedding of mobile policies as transformation of
dispositives because a dispositive perspective offers conceptual and
empirical tools to address these two dimensions. Consequently, I present a
non-presentist dispositive analytical research design drawing on walking
interviews, photo interviews and coding. These methods allow for analyzing
the powerful interplay of linguistic practices and materialities and are
sensitive to more extensive temporalities. I draw on empirical research on
the re-embedding of creative city policies in the European Metropolitan
Region of Nuremberg (EMN) to illustrate that line of argumentation.
Consequently, I reconstruct and compare related <?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?>: the
mobile creative city policies as well as the historical and current
contexts of the policies' re-embedding in the EMN. I use arrangements of
“networking” as an empirical lens to understand the differing logics that
shape the re-embedding of creative city policies in the EMN and the mutual
transformation of policies and its contexts. Finally, I discuss the general
potential of dispositive approaches for research on policy mobilities.</p>
</sec>
<sec id="Ch1.S2">
  <title>Calls for context-sensitive policy mobility research</title>
      <p>To begin, I follow two calls for context-sensitive policy
mobility research. Firstly, the context-specific “how” of re-embedding
mobile policies needs to be investigated in detail, because this process
“is inherently selective with certain
policies, practices, discourses, actors, institutions and methods being used
whilst others are sidelined or silenced” (Cook, 2008:791). The
reification of mobility and its close relation to mutation are problematic
in this regard. It remains unclear which elements of heterogeneous policies,
such as creative cities, are moving, where they mutate and how they become
stabilized in the context of their re-embedding. How do “contextual
enrolments” and “local articulations” work (Dzudzek and Lindner, 2015:390–391)?
Instead of tracing mobile elements of policies, we might ask how
cities or metropolitan regions “arrive at” (Robinson, 2015:831) certain
policies and make them local. Studies also need time to research elements of
policies already in place because they shape possibilities (Temenos and
McCann, 2013:351–352). This perspective on the re-embedding of policies
resonates with the call to do “slow research” (Kuus, 2015:838) on
policymaking, to be sensitive to ambiguities and spatiotemporal contexts.
It also meets the calls for more longitudinal and genealogical perspectives
on policy processes, which sensitize scholars to the historical embeddedness
of policymaking (McCann et al., 2013:587; Temenos and Baker, 2015:841).
Policy processes might encompass different temporalities and modes of
policymaking like gradual, repetitive and delayed processes. Even formerly
“unsuccessful” policy elements may become important in present policymaking
(Wood, 2015). Thus, policy mobility research needs to be more attentive
to slower transformations and the interconnections of discourses,
subjectivities and materialities that are associated with vague and
affirmative ideas like creative cities, which might travel without the
intentional efforts of policymakers (Künkel, 2015:13–14).</p>
      <p>Consequently, the context-specific “how” and the complex and contradictory
long-term transformation of relations require more attention in debates on
urban policy. How are “creativity” and “networking” actually co-constructed
by different communities, in different types of cities and countries?
Context-sensitive research on the long-term reproduction and transformation
of policies in local contexts, on different scales, in different
departments and by different groups and the broader framing contexts is crucial
to answer these questions. Therefore, we need to go beyond policy and
marketing documents and linear methodologies. Furthermore, we need to go
beyond the focus on Anglophone and European capitals or “world cities” to
discover the variations and contingencies in urban policymaking in other
countries and smaller cities or regions like the European Metropolitan
Region of Nuremberg (Borén and Young, 2013:1801–1806).</p>
      <p>Secondly, we need to ask why the context-specific “how” becomes and remains
“plausible” in the policy process. What legitimizes the selection and
arrangement of policy elements? The discursive construction of “success” and
of “appropriate” policy elements that “should” remain or become part of a
policy arrangement is important to understand the context-specific “why” of
the policy process (Cook, 2008:775–777; McCann, 2011b:144; Temenos and
McCann, 2013:350). Consequently, power/knowledge in policymaking and
particularly the role of linguistic practices need to be thoroughly
addressed. Hence, policy mobility scholars should draw on insights of
political science and other social sciences instead of superficial,
disciplinary demarcation (Künkel, 2015:12–13). The turn of policy
mobility research to post-structuralist approaches such as assemblage
thinking indicates a <?xmltex \hack{\mbox\bgroup}?>(self-)critical<?xmltex \hack{\egroup}?> shift to issues of
power–knowledge relations, transformation, distributed agencies beyond human
actors, contradictions and multiplicity in policymaking (Künkel, 2015:8–9;
Pütz et al., 2013:88, 97). This also means not to a priori conceptualize
these processes as coherent and exclusively neoliberal (Dzudzek and
Lindner, 2015:391; Künkel, 2015:15–18).</p>
      <p>Networking and creativity are symbolically and materially complex
arrangements. I use arrangements of networking or the interaction of
people, firms and institutions as a magnifying glass to understand the
differing logics that context-specifically shape the re-embedding of
creative city policies in the EMN and the struggles between them. The
reconstruction of networking allows for indicating the context-specific
multiplicity in the process of re-embedding creative city policies in the
EMN and its relation to different power–knowledge relations and their manifestations.
Networking is a suitable empirical lens because it is important to the
scripts of creative cities, to the former and current policies in the EMN
as well as to all groups involved in the process of re-embedding. However,
it is co-constructed differently each time. Consequently, the broad notion
of networking will be differentiated in Sect. 5.</p>
</sec>
<sec id="Ch1.S3">
  <title>The re-embedding of mobile policies as transformation of
dispositives</title>
      <p>I draw on the concept of dispositives by Michel Foucault to understand how
networking is actually enacted and what legitimizes the context-specific
modes of networking. This concept allows for analyzing the complexity of
the materially and symbolically heterogeneous arrangements of networking.
Moreover, it is sensitive to power–knowledge relations and especially to the relations
of linguistic practices and material elements that co-produce networking.
Further, the genealogical dispositive perspective is sensitive to change
and the historical embeddedness of policymaking, that plausibilizes certain
modes of networking while sidelining others in the context of the EMN.
According to Foucault (1980:194–195) a dispositive is<disp-quote>
  <p>firstly, a thoroughly heterogeneous ensemble consisting
of discourses, institutions, architectural forms, regulatory decisions,
laws, administrative measures, scientific statements, philosophical, moral
and philanthropic propositions – in short, the said as much as the unsaid.
Such are the elements of the [dispositive]. The [dispositive] itself is the
[network] that can be established between these elements. Secondly, what I
am trying to identify in this [dispositive] is precisely the nature of the
connection that can exist between these heterogeneous elements.
[<inline-formula><mml:math id="M1" display="inline"><mml:mi mathvariant="normal">…</mml:mi></mml:math></inline-formula>] Thirdly, I understand by the term [“dispositive”] a sort of
– shall we say – formation which has as its major function at a given
historical moment that of responding to an urgent need. The [dispositive]
thus has a dominant strategic function.</p>
</disp-quote>Therefore, a dispositive is a relational construct. Its particular
arrangement of material and symbolic elements characterizes it (Bussolini,
2010:92; Pløger, 2008:56–58; Raffnsøe et al., 2011:227).
Dispositive approaches stress more-than-human relational ontologies,
heterogeneity, constant transformation, multiplicity and
space–time relations (Legg, 2011:129–131). Moreover, a dispositive has a
strategic function in a certain place and time. Consequently, it is related
to a context-specific problematization and part of a power play (Bussolini,
2010:91–92). A dispositive is formed by certain types of knowledge, but it
is also forming and powerful because it supports certain bodies of
knowledge (Foucault, 1980:196; see also Pløger, 2008:58–60).</p>
      <p>Thus, a dispositive approach meets the calls for context and
power sensitivity. Furthermore, it offers a coherent perspective on
important features of policy mobilities and the context-specific “how” and
“why” of the co-construction of networking. Firstly, Deleuze (1992:160)
distinguishes two dimensions of the dispositive on a conceptual level:
“curves of visibility and curves of enunciation”, which
reflect the translocal and transscalar relations of discourses, practices,
subjectivities and materialities in short power–knowledge relations of
policy mobility. Enunciation refers to the linguistic, discursive practices,
whereas visibility points to non-linguistic, discursive and non-discursive
practices as well as subjects and objects. The notions of subjectification
and objectification point to the discursive construction of a subject or
object (e.g., what is regularly said about a building) and subjectivation and
objectivation to the non-discursive capabilities of subjects and objects
(e.g., what a building is able to do or does). The double terms
subjectification/subjectivation and objectification/objectivation reflect
that agency is distributed among symbolic and material elements, which
therefore cannot be separated (Bührmann and Schneider, 2008:52–74)
(Fig. 1). Thus, the dispositive approach emphasizes the material dimension
of power and its interplay with discursive practices – linguistic practices
in particular (Mattissek and Wiertz, 2014:158–162). This reflects the
socio-material co-constructivist Foucaultian notion of power as a
relational, immanent and distributed multiplicity of micro-powers (Foucault
et al., 2008:1098–1099). However, the discursive dimension is
methodologically privileged, because not all interview statements refer to
materials and because the agency of materials or non-discursive practices is
always discursively mediated. Dispositive approaches draw on
well-established Foucaultian discourse-analysis methods to address the
important dimension of language, which takes part in the constitution of
power–knowledge.</p>

      <?xmltex \floatpos{t}?><fig id="Ch1.F1"><caption><p>Dispositive of power.</p></caption>
        <?xmltex \igopts{width=241.848425pt}?><graphic xlink:href="https://gh.copernicus.org/articles/72/157/2017/gh-72-157-2017-f01.pdf"/>

      </fig>

      <p>Secondly, two different dispositive lines of forces come to the fore, which
context-specifically shape the re-embedding of policies and the enactment of
networking: “lines of stratification or sedimentation,
and lines leading to the present day or creativity” (Deleuze, 1992:165).
Lines of sedimentation point to context-specific stable constructions of
power–knowledge  relations related to materiality, unquestioned, routinized
and embodied knowledge, institutions and practices. Especially these
taken-for-granted lines of sedimentation shape policymaking and emerging
modes of networking in the EMN. Nevertheless, sedimentation is not about
determinism  but about a “dispositional logic” (Raffnsøe et al., 2011:199)
that opens up certain spaces of possibilities. Sedimentation is
powerful, but these lines are fragile, have fissures and can be realigned or
opened up by lines of creativity. Lines of creativity refer to
transformation via subjectivation and related practices that take part in
the production of alternative modes of networking, for instance (see
Bussolini, 2010:88–93).</p>
      <p>Thus, the dispositive concept offers a perspective on change that sensitizes
for the breaks and fissures, while at the same time accounting for the
historical embeddedness of policymaking in a genealogical perspective. This
means, the “already-assembled” <?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?> shape the processes of
mobilizing, translating and re-embedding policies and the enactment of
networking in EMN. Therefore,
dispositives – such as creative cities and established “cluster policies”
and the related arrangements of networking in the EMN – do not succeed
each other, they co-exist and transform each other. These struggles are
moments of actualization and make some of the logics that shape
policymaking visible. Consequently, I conceptualize these processes as
transformation of dispositives.</p>
</sec>
<sec id="Ch1.S4">
  <title>Dispositive analysis</title>
<sec id="Ch1.S4.SS1">
  <title>The re-embedding of creative city policies into the policy
arrangements of the EMN</title>
      <p>The European Metropolitan Region of Nuremberg is an interesting case, on
which only scattered research exists because the region is not typically
associated with creativity. The neighborhood of Muggenhof in the west of
Nuremberg has been labeled “problematic” due to more than 9000 job losses,
increased unemployment rates and vacancies after the bankruptcies of the
mail-order business Quelle, the electronics manufacturer AEG and other
traditional industrial companies along the Fürther Straße (Weber et
al., 2013:111). The Fürther Straße is an emotionally and
symbolically meaningful and powerful place for many citizens because it
represents the “traditional industrial” Nuremberg and its decline (PI 1). It
is a central part of an important line of sedimentation that represents the
dominant understanding of how economic development should be like in the EMN
and especially in Nuremberg: industrial and technology oriented.</p>
      <p>The subsequent and continuing problematization of negative effects on the
image of the neighborhood and the metropolitan region legitimized political
measures drawing on creative city policies. Areas like the former AEG-site
could then be re-imagined as spaces with much potential, especially for
the “creative class” (Weber et al., 2013:111). Consequently, the
creative city script turned out to be performative as it was efficiently
translated into projects like Second Chance (KUF, 2017), part of <italic>Auf AEG</italic>
(meaning On AEG; MIB, 2017), and the metropolitan development
vision Home for Creatives (EMN, 2010).</p>
      <p>Second Chance was a 3.5-year, interurban regeneration project
for brownfields in Nuremberg, Leipzig, Ljubljana, Krakow and Venice. The
EU's European Regional Development Fund financed the total budget of
EUR 2 882 700 with EUR 2 269 080. The EUR 650 000 project
budget of the project partners MIB and the municipality of Nuremberg was
funded with EUR 485 000 by the European Regional Development Fund.
Second Chance is part of the revitalization of the 168 000 m<inline-formula><mml:math id="M2" display="inline"><mml:msup><mml:mi/><mml:mn mathvariant="normal">2</mml:mn></mml:msup></mml:math></inline-formula>
site On AEG. The project primarily promotes cultural and creative industries
including the construction of the <italic>Kulturwerkstatt auf AEG</italic> (cultural workshop of On AEG). The
municipality of Nuremberg represented by the municipal office for cultural
and leisure activities (KUF) was the lead partner of Second Chance (KUF,
2017; MIB, 2017; WI 2a; WI 3). Nevertheless, as owner of the site MIB has
more influence on the developments and the users than the municipality or
the tenants (Weber et al., 2013:116–119; PI 2). The investor owns the site of On
AEG since 2007 and promotes a heterogeneous use. The mixture includes more
than 80 ateliers in the former AEG offices, cultural and creative industries
such as architecture, design, galleries, photography and craft as well as
other sectors like technology-oriented research and manufacturing,
education, gastronomy, retail and services (MIB, 2017; WI 2a). The investor
charges affordable rents in the buildings in need of renovation, which is
suitable for cultural and creative industries. According to the project
partners this kind of creative city policy might attract businesses and
create vitality and appreciation for the district and the region (KUF,
2017; Weber et al., 2013:117–118; WI 2a; WI 3). The investor
“successfully” applied a similar art-oriented combination at the
<italic>Baumwollspinnerei</italic> in Leipzig since 2001. This “success” further legitimizes
the development strategies of On AEG. Additionally, the municipality of
Nuremberg could not have provided the material and symbolic resources on its
own (Weber et al., 2013:117–118; WI 3).</p>
      <p>All projects represent responses to an “urgent need” for mainly economic
urban and regional development in the west of Nuremberg and the EMN and the
connection of translocal and transscalar processes of re-embedding. These
responses largely fit the responses of the broader framing contexts
represented by the EMN. The EMN wants to become a Home for Creatives by
systematically fostering cultural and creative industries based on the first
metropolitan report on cultural and creative industries. The report and the
vision were developed by the metropolitan forums on Economy and
Infrastructure and Culture (EMN, 2010). The case study investigates
these creativity-based responses using the co-existence of different
arrangements of networking as an empirical lens and asks: (1) How is
networking actually enacted? (2) Which networking-related elements of
creative cities are used, transformed or ignored and why? (3) How does
this reflect the multiplicity of creative city thinking and doing in the
EMN?</p>

      <?xmltex \floatpos{t}?><fig id="Ch1.F2" specific-use="star"><caption><p>Comparative research design and context-sensitive methods.</p></caption>
          <?xmltex \igopts{width=398.338583pt}?><graphic xlink:href="https://gh.copernicus.org/articles/72/157/2017/gh-72-157-2017-f02.pdf"/>

        </fig>

</sec>
<sec id="Ch1.S4.SS2">
  <title>Operationalization of the dispositive analysis</title>
      <p>Usually researchers analyze these complex arrangements and the “how” and
“why” of policy mobility drawing on a standard set of qualitative methods:
interviews, textual analysis or observations. The methodology of following
facilitates a presentism that reproduces fast policy and does not explore
histories and effects of re-embedding policies in detail. Although discourse
analysis offers means to thoroughly analyze histories, we need to go beyond
these predictable and prefiguring methodologies that focus on texts and
sometimes visual data (Temenos and McCann, 2013:351–352). Dispositive
analysis aims to overcome the presentism and the linear methodologies and
allows a flexible and experimental research design, which is sensitive to
power–knowledge relations, materiality and more extensive temporalities.</p>
      <p>The methodological operationalization of a dispositive analysis is
reconstructive (Bührmann and Schneider, 2008:110). I conceptualize the
policies and the contexts of re-embedding as <?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?>. A
comparison of the reconstructed subdispositives shows the context-specific
variations and the tension between sedimentation and transformation. To
understand these processes, I compare the arrangements of networking in
four related <?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?> that make up, what I call, the emerging
heterogeneous dispositive “Creative European Metropolitan Region
Nuremberg”. (1) I reviewed academic literatures on “creatives” and
networking, which represent the discursive, translocal and transscalar
scripts of the mobile creative city policies. The literature review
represents possible points of reference for re-embedding and
<?xmltex \hack{\mbox\bgroup}?>(re-)arranging<?xmltex \hack{\egroup}?>
networking in the metropolitan area and On AEG in particular. The
re-embedding of creative city policies connects the scripts to the EMN
(see Sects. 5.1 and 5.2.1). The comparison of the scripts with the data gathered in
the EMN allows for reconstructing the context-specific accents and
omissions, thus the making the scripts “local” within the dispositive
Creative Metropolitan Region Nuremberg. (2) The wider framing contexts
represented by the policy document on the metropolitan development vision
Home for Creatives reflect metropolitan political measures and shape the
re-embedding On AEG. I consider Home for Creatives as a comprehensive
subdispositive of the Creative European Metropolitan Region Nuremberg.
Moreover, lines of sedimentation influence these policy processes. (3) I
reconstruct these lines from the policy document “Development model for the
Economic Region of Nuremberg” (IHK Nürnberg für Mittelfranken et
al., 2005), which represents the influential already-assembled context:
“the cluster-based ideas before creative cities”, where creative cities
became re-embedded (see Sect. 5.2.2). I conceptualize it as a well-established
comprehensive subdispositive that becomes realigned within the emerging
dispositive and influences the process of re-embedding. (4) Furthermore,
creative city policies are re-embedded into the regeneration project
Second Chance On AEG, which is considered as a less comprehensive,
specific and localized subdispositive that represents further variations of
<?xmltex \hack{\mbox\bgroup}?>(not-)networking<?xmltex \hack{\egroup}?> (see Sect. 5.2.3) (Fig. 2).</p>
      <p>Empirically, I draw on a literature review and three slow and intensive
qualitative methods to grasp these complex arrangements and their
transformation. Slow and intensive also means to visit and observe the field
during the preparation, conduction and postprocessing of the interviews at On
AEG. Firstly, I draw on three walking interviews with four participants. One
walking interview was a “real” tour including a group of Instagram users and
three guest artists (WI 1–3, ca. 6 h 15 min). Walking interviews are more
attentive to materialities and situated practices. In comparison to the usual
qualitative stakeholder interviews, they allow one to be present on the site, to
make observations and to reconstruct not only dominant linguistic practices
but also the role of situated practices, spatiality and materiality on site.
At the same time, walking interviews have the advantage of reconstructing
histories and wider framing contexts in contrast to presentist ethnographic
research (Evans and Jones, 2011). The interviewees work at On AEG from a
rather conceptual or developmental perspective. They represent the most
important players regarding different powerful imaginations of creativity
and networking: the investor, the KUF and the Zentrifuge e.V., a
networking platform for cultural and creative industries and an exhibition
space representing the “free art and subcultural scene” (WI 1). All
interviewees designed the routes of the walk themselves and consequently had
an important say on the topics. Secondly, I draw on three participatory
photo interviews with “creatives”, four artists from building 74 of On AEG (PI
1–3, ca. 4 h 32 min). Photo interviews offer privileged access to
materialities, memories and atmospheres. In contrast to usual qualitative
interviews, the visual material encourages one to talk freely on topics that
might have not been mentioned otherwise. The interviewees took 52 photos to
which they hold the rights. This is an empowering moment in interviewing
that helps to create joint knowledge (Kolb, 2008). Thus, both interview
formats empower the participants and facilitate gathering a different kind
of qualitative data compared to usual qualitative interviews. The data
include and make visible the context-specific interplay between linguistic
and non-linguistic practices, subjectivities and things. All interviews were
conducted in German from 2013 to 2015 and mainly represent subdispositive
(4). I analyzed the transcripts to reconstruct notions of networking and
used the dispositive vocabulary as a second layer of analysis. Thirdly, I
coded 226 pages in the two policy documents of the EMN representing the subdispositives (2) and (3) with
ATLAS.ti to reconstruct the linguistic, discursive rules of networking
(Glasze et al., 2009). I started to thematically code networking as
defined above. Then, I coded the heterogeneous elements that make up
networking using the dispositive vocabulary as a second layer of analysis.
Finally, I coded the connectivity patterns. As opposed to a policy review,
this process allows for systematically reconstructing the powerful
linguistic practices that constitute different notions of creativity and
networking as well as the transformation of these practices. Codes and
code relations that are stable over time represent lines of sedimentation,
whereas new ones represent lines of creativity. The subsequent comparison of
the patterns of the <?xmltex \hack{\mbox\bgroup}?>(sub-)dispositives<?xmltex \hack{\egroup}?> is important to explain how creative cities are actually re-embedded, which transformations took place and why.
This mix of methods allows for the “slow”, “deep and sustained”
research, which is called for to understand the “prevailing
modes of production and legitimation” (Temenos and Baker, 2015:842) in
policymaking.</p>
</sec>
</sec>
<sec id="Ch1.S5">
  <title>From creative city policy mobilities to the Creative Metropolitan
Region of Nuremberg?</title>
<sec id="Ch1.S5.SS1">
  <title>Creative city policies</title>
      <p>The literature review represents possible points of reference for
re-embedding creative city policies and networking. It showed that
creative city policies have been quite mobile and performative since the
1990s (Borén and Young, 2013; Dzudzek and Lindner, 2015; Lange et al.,
2009; Peck, 2012; Prince, 2010; Sailer and Papenheim, 2007). A multiplicity
of translocal and transscalar policy assemblages has emerged emphasizing
different elements of “the creative-economy script as a
point of reference for new policy practices”, as Dzudzek and Lindner put it
(2015:389–390). The script problematizes the structural transformation of
industrial towards knowledge societies, deindustrialization and the rise of
a new economic sector called creative industries. The same applies to
altered norms, values, social structures, patterns and rhythms of everyday
life changing the ways of working and living (Florida, 2004; Weber et al.,
2013:112). Based on this interpretation of economic and societal
transformation, creativity is introduced as a problem-solving capacity and
has become a locational factor for cities and regions in global competition
almost without being questioned (Weber et al., 2013:112–114).</p>
      <p>This powerful problematization legitimizes the move towards creative city
policies. The heterogeneous political interventions mostly target creative
individuals or creative milieus or infrastructure for the creative
industries or place-branding (Dzudzek and Lindner, 2015:393). The
context-specific reading and performance of the creative city script is
part of the power play that I want to analyze. Richard Florida, for instance,
argues in his (in the EMN) much-discussed account of the “creative
class” that the 3Ts – talent, technology and tolerance  – are the
vital factors for regional development. Soft locational factors should be
promoted, because the talented “creative class” favors “tolerant”,
“open-minded” and “diverse” places to live, work and innovate. From this
perspective, innovation, technology and talent finally foster a “successful”
development of cities and regions, generate economic growth and new jobs
(Florida, 2004; see also Weber et al., 2013:113).</p>
      <p>The EMN case study revealed a
differing understanding that context-specifically transforms creative city thinking and consequently the arrangements of networking.
Technology and talent  are much more naturally understood and intensely
embraced and translated than tolerance  in the context of the EMN due to
sedimented “high-tech-cluster” dispositive patterns of urban and regional
development (EMN, 2010; IHK Nürnberg für Mittelfranken et al.,
2005; WI 1). This sedimented dispositive arrangement of power–knowledge
promotes a technology-oriented reading of creativity that targets
creative milieus and infrastructure rather than individuals.</p>
</sec>
<sec id="Ch1.S5.SS2">
  <title>Arrangements of networking in the EMN and On AEG</title>
<sec id="Ch1.S5.SS2.SSS1">
  <title>How “creative people” live and (net-)work in creative cities</title>
      <p>The literature review revealed a dominant understanding of “creatives” as
spontaneous, networking-oriented people. I will first reconstruct this
notion and afterwards problematize it by pointing out different, co-existing
practices of <?xmltex \hack{\mbox\bgroup}?>(not-)networking<?xmltex \hack{\egroup}?>. According to the literature review,
creativity is about experimentally <?xmltex \hack{\mbox\bgroup}?>(re-)arranging<?xmltex \hack{\egroup}?> “old” and “new” cultural
materialities. It involves “scenes”, “shared stories”
(Schwanhäusser, 2008:114–115), ideas of spaces as well as their
material exploration and appropriation. Practices of networking, space and
place are constituted as essential resources for creativity (Florida,
2004:5–6). “Creatives” use rapidly emerging project-based and experimental
cultures, symbolically charged places and self-made open spaces. This new
economy operates in small, dynamic and short-term networks and scenes, which
are informal and non-binding yet supporting (Lange, 2008; Lange et al.,
2009:21–22; Sailer and Papenheim, 2007:121–123). These networking
practices often take place on neighborhood or street level in heterogeneous
places, “in which we find less formal acquaintances”
(Florida, 2004:226).</p>
      <p>Processes of policy mobility discursively, linguistically in particular,
connect these imaginations of project-oriented, small and informal networks
to the contexts of the EMN and On AEG. Accordingly, these imaginations have
also been reconstructed in the EMN data. The local free art and subcultural
scene locally articulates similar imaginations and translates these
arrangements into special places and situations like exhibition openings,
artist bars, open workshops or the networking event Creative Monday (PI
1; PI 2; PI 3, WI 1).</p>
      <p>Overall, the analysis of the case study showed three complementary and
contradictory notions of culture and creativity: (a) as free art and
subcultural scene as also discussed in the literature, (b) as technological
innovation or (c) as sociocultural activities (PI 1 – WI 3). Thus,
networking is also embedded in relations beyond “creative to creative”.
The three notions support different arrangements of networking and create
different publics and subjects. The analysis shows that lines of
sedimentation in discourses, subjectivities and materialities
context-specifically shape these multiple, co-existing arrangements of
<?xmltex \hack{\mbox\bgroup}?>“(not-)networking”<?xmltex \hack{\egroup}?>. Subsequently, I reconstruct these transformational
processes zooming in from the current and the long-established policy
arrangements of the EMN over the whole site of ON AEG into the buildings 74
and 75, where most of the artists live and work.</p>
</sec>
<sec id="Ch1.S5.SS2.SSS2">
  <title>Sedimented arrangements of networking in the context of the EMN</title>
      <p>In the following paragraphs, I analyze lines of sedimentation, which connect
the logics of the subdispositive Home for Creatives (2010) to the
cluster-based high-tech region (2005). These lines transform the
re-embedding of creative cities in the EMN. These powerful discursively
and institutionally sedimented patterns also shape the development
possibilities of On AEG, because informal, small-scale networking activities
become invisible in official documents and for funding projects of the
EMN. Moreover, these lines amplify the
understanding of culture and creativity as technological innovation.</p>

      <?xmltex \floatpos{t}?><fig id="Ch1.F3" specific-use="star"><caption><p>Spatialization of networking-related places and spaces of On AEG.
Adapted from Google Earth Pro 2016.</p></caption>
            <?xmltex \igopts{width=398.338583pt}?><graphic xlink:href="https://gh.copernicus.org/articles/72/157/2017/gh-72-157-2017-f03.jpg"/>

          </fig>

      <p>The reconstruction of the dominant linguistic practices and the related
objectifications in the policy papers showed that networking is highly
relevant to the new and established metropolitan policy arrangements.
Networking is discursively constructed as a crucial strategy for
development. Networking activities and spaces are considered as essential to
strengthen the promising cultural and creative industries. Established
institutions like the Creative Monday initiated by Zentrifuge e.V. or the
cultural center Z-Bau and new forms of networking like “co-working
spaces” represent innovative and suited ways of networking according to the
EMN. Trade fairs, “creative centers” and symposia with round tables
provide the material and symbolic infrastructures to create awareness and to
facilitate communication and networking (EMN, 2010:52, 130–135). The
combination of measures such as fairs, symposia and festivals indicates that
the preferred activities, spaces and ways of networking are
institutionalized, formal and of large scale (see EMN, 2010:127–130).</p>
      <p>Why is that so convincing in the context of the EMN? As Peck pointed out creative city policies are made to
travel. They can be easily mapped onto existing arrangements by policy
actors without demanding too much change and financial resources while being
able to claim to be innovative (Peck, 2012:472–476, 479–482). The reconstruction
of the Creative  Metropolitan Region Nuremberg and its arrangements of
networking shows similarities. Networking between firms, research and
education has been constructed as an important strategy in Nuremberg's
policy arrangements long before the re-embedding of creative city
policies. One of the most prominent examples is the cluster Medical
Valley, in which successful networking between local companies and R&amp;D
institutions has been politically supported along the whole value chain for
more than a decade (EMN, 2010:93–135; IHK Nürnberg für
Mittelfranken et al., 2005:44–45, 51–52). This rather formal and
large-scale dispositional logic of connecting middle-sized and global
companies and institutions of the high-tech-region Nuremberg also shapes
the development vision Home for Creatives. The sedimented focus on formal,
large-scale arrangements of networking is plausible, because technology
and talent  as well as the related practices of networking have been
“verified” as “successful” by the “already-assembled” cluster policies. This
reflects the dominant understanding of culture and creativity as
technological innovation and a focus on industries, not people (see IHK
Nürnberg für Mittelfranken et al., 2005:91–97). Moreover, the
knowledge-intense and innovative service providers, which have been crucial
to the cluster policies, can be interpreted as “discursive ancestors” of the
cultural and creative industries. A dispositional logic of connecting
“established” and “new, innovative” companies along established value chains
makes that reasonable. Consequently, the corresponding and sedimented formal,
large-scale arrangements of networking with innovative service providers
seem to be suited for “creatives” today as well and reinforce an
understanding of creativity and culture as technological innovation.</p>

      <?xmltex \floatpos{t}?><fig id="Ch1.F4" specific-use="star"><caption><p>A “depressing” hallway in building 74 – the co-construction of a
barrier to interaction. Source: artist from a participatory photo interview.</p></caption>
            <?xmltex \igopts{width=398.338583pt}?><graphic xlink:href="https://gh.copernicus.org/articles/72/157/2017/gh-72-157-2017-f04.jpg"/>

          </fig>

</sec>
<sec id="Ch1.S5.SS2.SSS3">
  <title>On AEG – a network-based Home for Creatives?</title>
      <p>We need to go beyond the policy level to reconstruct the variations and
contingencies of networking and policymaking. Therefore, the case study
also analyzes how networking is or is not arranged in the “creative
spaces” of On AEG. Figure 3 offers a spatialization of the networking-related
places and spaces referred to by the interviewees. Interviewees describe On
AEG as a place with a good mixture of networking, collaboration, inspiration
and retreat. Circles of friends spread the opportunity to rent an atelier on
the site by word of mouth. One artist in particular, who was recommended to
the investor by the “creative community” in Leipzig, influenced the
selection of artists in the beginning. Networking is mostly project-based
like the planning and execution of the annual trans-regional event <italic>Offen Auf AEG</italic> (Open On
AEG). Basically, the same people and institutions take on responsibility
every year. Furthermore, there are institutions that specialize in
networking, e.g., between the arts and business, the arts and children, and the arts and
technology firms. The influential investor and the municipality are also
involved in networking activities with (creative) tenants and neighbors.
Networking and translating between different sectors is constructed as a
central part of the work in and for the cultural and creative industries to
generate additional benefits. Networking is always an option on the site,
but it is not imposed on anyone (PI 1 – WI 3). Nevertheless, there are
different assessments of whether the investor's claim of “creating communities”
at On AEG has come true (WI 1; WI 2a).</p>
      <p>The reconstruction indicated discursive, material and atmospheric
co-obstructions to interaction in the atelier buildings 74 and 75, which
transform arrangements of “<?xmltex \hack{\mbox\bgroup}?>(not-)networking<?xmltex \hack{\egroup}?>”. There are just a few
straightforward professional networks. Much of the interaction, networking
and collaboration in the buildings 74 and 75 depends on the artists' circles
of friends in the immediate vicinity. Moreover, co-presence, informal and
spontaneous networking is rare due to family reasons or projects elsewhere.
At the same time, the barrier to informal and spontaneous networking is
co-constructed by the interior building structures and artists' practices.
There are still no windows between the ateliers and hallways and only a few
artists slightly transformed the former office architecture of AEG. In
addition, only a few artists keep their doors open deliberately. Both
aspects co-produce a feel of being closed (PI 1; PI 2; WI 2b).</p>
      <p>Further related elements that influence <?xmltex \hack{\mbox\bgroup}?>“(not-)networking”<?xmltex \hack{\egroup}?> are the hallways
of the atelier building. The photo interviews (PI 1–3) pointed to the
objectivation, the material capabilities and affective qualities of the dark
and narrow hallway and its relation to the linguistic and non-linguistic
objectification of its interior design as “depressing” and
“non-communicative” as expressed in the statements of the artists (see Fig. 4).</p>

      <?xmltex \floatpos{t}?><fig id="Ch1.F5" specific-use="star"><caption><p>Adapted routes of the walking interviews.
Adapted from Google Earth Pro 2016.</p></caption>
            <?xmltex \igopts{width=398.338583pt}?><graphic xlink:href="https://gh.copernicus.org/articles/72/157/2017/gh-72-157-2017-f05.jpg"/>

          </fig>

      <p>That atmosphere today is still an obstacle to interaction. Consequently,
artists only go to their ateliers or the place close to the staircase with
its indoor plants and a round table, where all the organizational meetings
take place. Temporarily there used to be an “open kitchen”, a “regular
lunch table” run by new tenants that served as a community place, but it
does not exist anymore due to a lack of time. Thus, there is no actual
meeting place. A couple of artists annotated this, but fire protection and
escape plans limit the improvement of the corridor (PI 1, PI 3, WI 2b). On
the one hand, the context-specific relations of objectifications and
objectivations hinder interaction. They are not to be analytically separated
and point to different aspects of how and why networking is or is not
arranged.</p>
      <p>On the other hand, the analysis of the interviews also identified newly
created places for spontaneous, informal, small-scale networking at On AEG.
New venues like the coffee roasting house Rösterei and dynamic
ateliers represent lines of creativity, which make this place livelier, give
it a more welcoming atmosphere and allow informal interaction. The café
Pforte, the former gate, was transformed from a barrier into a
“networking location” for all groups on the site including visitors. It also
was an important meeting place for the “creative community” in the
beginning. Nevertheless, the “creative community” lost pioneering spirit in
developing creative spaces on the site and in the EMN after a decrease in
open spaces at On AEG due to ongoing renovations and met less at the Pforte
(PI 1; PI 2; PI 3; WI 3). Additionally, the Zentrifuge association struggled
with hosting economically successful events due to legal issues on noise
protection with residents on the site. Meanwhile, the Zentrifuge has left
the site (WI 1).</p>
      <p>Furthermore, the artists are depicted as “autonomously thinking and acting
beings” (WI 1) that “tick differently” (WI 2a). Artists identify
themselves as “mavericks” (PI 1), working all “alone” (PI 3; WI 2b) most
of the time, concentrated on his/her work. This
subjectification/subjectivation is another discursively produced barrier to
interaction. Moreover, some firms and institutions are reluctant to interact
with artists because they focus on their own work or cannot imagine any
connections. The translational effort would have to be supported by a
coordinating position (WI 1; WI 2a). The fragmentation is an effect of the
dispositive arrangement, <?xmltex \hack{\mbox\bgroup}?>especially<?xmltex \hack{\egroup}?> architectonic lines of sedimentation,
missing spaces and institutions and the powerful identities <?xmltex \hack{\mbox\bgroup}?>(re-)produced<?xmltex \hack{\egroup}?> by
discourses of belonging to a different community without overlaps to other
communities. These linguistic and non-linguistic practices,
subjectifications/subjectivations and objectifications/objectivations have
an influence on the co-construction of “<?xmltex \hack{\mbox\bgroup}?>(not-)networking<?xmltex \hack{\egroup}?>” at On AEG. They
impede communication and spontaneous, informal, small-scale networking
between all tenants. Hence, creating and connecting communities “is not
here” (WI 1).</p>
      <p>Furthermore, the architectonic arrangement and related practices co-produce
identities of a “northern” and a “southern” part of the site. This
objectification is related to the material division of the site in a
northern and a southern area by the Muggenhofer Straße. Most of the
ateliers are on the separated northern part. Thus, it feels like visiting
the “big brother” on the other side of the street (PI 1). The differing
structure of the two parts reinforces that division. The southern part is
more compact and vibrant. It has courtyards, more tenants, shops,
restaurants and cafes, which support networking. The northern part has a
big parking lot and no meeting points. Therefore, there are no occasional
customers. “We are isolated from all the fun on the other side” (PI 1).
Consequently, some artists construe the buildings 74 and 75 as “our
buildings”, while the ones on the other side are “alien” (PI 1). The
everyday contact between the KUF, which is located on the south side, and
the northern part of the site is rare. There have not been any events of the
municipal office on the north side, for instance (WI 3). This arrangement of
practices and objectifications/objectivations has disruptive effects and
reinforces the division. The northern area of the site “really feels like
kilometers away anyway” (WI 1). This division has been reflected in the
routes of two of three walking interviews (Fig. 5). The few interactions
also reflect the KUF's understanding of culture and creativity as
sociocultural activities, which aims at interaction with citizens rather
than with artists. In summary, this means that different audiences, arrangements
of networking and creative city policies are enacted at On AEG.</p>
      <p>Moreover, the former gate (<italic>Pforte</italic>), which used to be the most important
way in, constituted a high threshold in the beginning of the revitalization
(PI 3; WI 3). In 2008 there were still turnpikes, bars, gatekeepers and
permits, which was a “bizarre” and “grotesque” situation for low-threshold
sociocultural activities (WI 3). Another high-threshold barrier to exchange
with residents is the complexity of the site with its many courtyards. Aesthetic but dim lighting at dusk and  insufficient signage co-produce
the complexity. Visitors often have problems  finding events in this dark and
confusing environment (WI 3). Furthermore, the artists choose to keep the
doors of the buildings 74 and 75 closed most of the time due to burglary.
The industrial building structure with its offices and workshops inherited
from AEG was not meant to be representative. Consequently, visitors seem to be
afraid to come to the northern part, in particular, with its ugly and
unwelcoming buildings (PI 1).</p>
      <p>Entanglements of lines of sedimentation and creativity also support the
co-construction of an identity that separates On AEG and citizens. The
high threshold of the site is an effect of the linguistic and material
protection of “trade secrets” in facilities of the Technical Faculty and
industrial enterprises, which represent culture and creativity as
technological innovation. The material cameras and signs signify not to enter the buildings. The sedimented
image of the private former factory site is still in place (PI 1; PI 3; WI
1; WI 2a). Moreover, citizens construe the site as an artists' site today.
Consequently, some residents say, “I still haven't internalized that this
now might be a part of the district for me as well” (WI 3). There are
almost no casual costumers on the site without events because of the high
material and symbolic barriers (WI 3). The site and the buildings 74 and 75
seem rather inaccessible for average citizens apart from the event Open On
AEG. The event is a moment of rupture, a line of creativity that opens the
site for people that usually do not feel welcome here. It is an opportunity
to visit the site once a year and experience the developments of the artists
and the site. Visitors can ask questions without reservations and artists
can better show and explain their work in the informal setting of their
ateliers with all props on site (PI 1; PI 2; WI 2b). The reconstruction
revealed that these sedimented objectivations of the former industrial use
by AEG, the spatial design and their objectification by current linguistic
and non-linguistic practices constitute a “secretive site”. Thus, there are
intertwined material and symbolic barriers to interacting with the
neighborhood
of Muggenhof with the exception of event-based ruptures.</p>
</sec>
</sec>
</sec>
<sec id="Ch1.S6" sec-type="conclusions">
  <title>Conclusions</title>
      <p>Overall, I reconstructed multiple arrangements of networking: networking
as an informal, small-scale arrangement at On AEG, networking as a formal,
large-scale arrangement in past and current policies of the EMN, and
arrangements that hinder networking at On AEG. While the literature on
creative cities and parts of the interview data highlight smaller and
informal activities on street level, the dominant logic of the European
Metropolitan Region of Nuremberg's past and current policy arrangements
emphasizes formal and large-scale practices of networking, like fairs and
symposia. The sedimented logics of the metropolitan policies aim at
connecting firms and institutions rather than “diverse, creative individuals”.
Architectural arrangements, spatial and interior design play an active role
when it comes to networking at On AEG or not. At the same time, interviewees
describe these material aspects as “hindering interaction” between
(creative) tenants and the neighborhood of Muggenhof. This also applies to the
powerful identities of a “secretive site”, a “northern” and a “southern” part as well as of the “autonomous and lonely artist subject”, which are
effects of linguistic and non-linguistic practices and related
materialities. The context-specific relations of these elements transform or
even impede networking at On AEG. Nevertheless, more informal and appreciated
networking practices like co-working or the events Open On AEG and Creative
Monday have been introduced to the dispositive policy arrangement of the
metropolitan region representing lines of creativity.</p>
      <p>The innovative and slow dispositive analytical research design offered
detailed insights into how networking is actually enacted and made
reasonable in the context of the EMN. The reconstructions of networking
showed how different co-existing arrangements of histories, discourses,
practices, subjectivities and materialities co-construct different and
complex processes of re-embedding creative city policies. The comparison
also demonstrated the influences of sedimented local arrangements on
policymaking. Consequently, mutual transformations became traceable.
Moreover, the reconstruction of networking illustrated how talent and
technology  are actually enacted and embraced. Moreover, it showed why this
is a “reasonable” re-embedding of creative city policies in the context of
the European Metropolitan Region of Nuremberg.</p>
      <p>The dispositive analysis provided analytical terms like
objectification/objectivation to grasp how material and symbolic elements
inseparably co-produce variations of networking and creativity. The
power- and knowledge-sensitive perspective allowed for analyzing the tension
between continuity, fluid change and ruptures in policy processes. Powerful
lines of sedimentation and dispositional logics of networking integrate
and transform the two dispositives of a cluster-based high-tech region and
the Creative European Metropolitan Region Nuremberg and legitimize the
political foci. This illustrates the sensitivity of the dispositive
perspective for the relational and transformational effects of
well-established arrangements, their legitimization through linguistic
practices and their influence on processes of re-embedding.</p>
      <p>Consequently, a dispositive perspective not only offers valuable tools to
reconstruct the relation of material and symbolic elements and their
powerful effects, it also allows for mutually analyzing forces of
stabilization and destabilization as two important dimensions in processes
of re-embedding. This combination of sensitivities makes the dispositive
perspective a valuable contribution to the analysis of policy mobilities.</p>
</sec>

      
      </body>
    <back><notes notes-type="dataavailability">

      <p>The data are not available due to the confidential nature of the interviews.
In case of inquiries, please contact the author.</p>
  </notes><notes notes-type="competinginterests">

      <p>The author declares that he has no conflict of
interest.</p>
  </notes><ack><title>Acknowledgements</title><p>I want to thank the two anonymous reviewers for their insightful
comments. Moreover, I would like to thank the Staedtler Foundation for the
funding of the project “„Heimat für Kreative!“: Übersetzungen der
Idee „kreative Stadt“ in den spezifisch lokalen Kontext der Europäischen
Metropolregion Nürnberg”, which provided important resources for the
paper. Furthermore, I would like to thank my PhD and project supervisor
Georg Glasze and the “Workgroup Glasze” for the continuous and
fruitful discussions. I would like to thank Christoph Baumann, Tim
Elrick and Jan Winkler, in particular. Last but not least, I want to
thank Andrea Tony Hermann for her continuing support, her
insightful comments and her patience.<?xmltex \hack{\newline}?><?xmltex \hack{\newline}?>
Edited by: M. Houssay-Holzschuch<?xmltex \hack{\newline}?>
Reviewed by: two anonymous referees</p></ack><ref-list>
    <title>References</title>

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    <!--<article-title-html>“Creative city” policy mobilities as transformation of dispositives – arrangements of “networking” in the European Metropolitan Region of Nuremberg</article-title-html>
<abstract-html><p class="p">Following the calls for context-sensitive policy
mobility research, I propose to analyze policy mobilities as
transformation of dispositives. Michel Foucault's context-sensitive notion
of dispositive stresses the context-specific, heterogeneous relations
between linguistic and non-linguistic practices, subjectivities and
materialities as well as the influence of power/knowledge and sedimented
features in policymaking. These sensitivities are valuable contributions to
policy mobility research.</p><p class="p">I draw on empirical research on <q>creative city</q> policies, which are
re-embedded in the European Metropolitan Region of Nuremberg, to illustrate
that line of argumentation. I reconstruct and compare related
<span style="" class="text">(sub-)dispositives</span>: the mobile creative city policies, the historical and
current contexts of the policies' re-embedding. Consequently, I use
arrangements of networking as an empirical lens to understand the
differing logics that shape the re-embedding of creative city policies in
the European Metropolitan Region Nuremberg and the mutual transformation of
policies and their contexts.</p></abstract-html>
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