The focus of this article is on the variability of value creation in the popular music industry. Recent trends in electronic music have been based on both the valorization of global tastes and of local specialities in performance and production. Depending on musical styles and market niches, local scenes have become important forces behind heterogeneous “globalocal” markets. At the same time, technological change and the virtualization of music production and distribution contribute to increasingly differentiated configurations of value creation. It is therefore necessary to reconstruct theoretically and empirically the new interplay among the local music production, digital media markets, and virtual communities that are involved. On the basis of empirical explorations in a German hot spot of electronic club‐music production (the city of Berlin), the article indentifies local interaction practice and constellations of stakeholders. The findings show that value creation in these rapidly changing production scenes has moved away from the large‐scale distribution of producer‐induced media to audience‐induced live performance and interactive soundtrack production. This change involves the rising importance of cultural embeddings such as taste building, reputation building among artists and producers, and local community building. Starting from an open theoretical problematization of value creation with regard to fluid scenes and shifting modes of production, the results of first empirical reconstructions are taken as inputs to an evolving discussion on the configurations of value creation in consumer‐based strands of music production.

The paper aims at discussing the issue of governance in respect to creative scenes, a central structural element of the creative economy, exemplifying the case of Berlin. Berlin has a fast growing creative industry that has become the object of the city's development policies and place marketing. The core question is: What are the spatial-organizational driving forces of creativity in Berlin-can they be steered by public administration? I am using Berlin as a reference case to articulate the gap between 'state-led planning' on the one hand and the organisational practices of self-governed creative scenes on the other. I attempt to demonstrate why a perspective change in terms of re-scaling is necessary, in order to respond to the particular practices of emerging industries and their societal form 'scenes'. By re-scaling I mean the conceptualization of governance in different nonhierarchical organisational as well as spatial scales, based on the observation that scenes are considered to be a central element of the functionality of creative industries.

This paper aims at discussing the issue of governing creativity exemplifying the case of Berlin. Berlin has a fast growing creative industry that has become the object of the city's development policies and place marketing. The core question is: What are the spatial-organizational driving forces of creativity in Berlin—can they be steered by public administration? The point of departure of this paper is the four “paradoxes of creativity” formulated by DeFillippi, Grabher and Jones in 2007 that describe organizational dilemmas linked to epistemological problems of the study of creativity. For our analyses, we refer to and make use of the various existing databases and recent studies on Berlin's creative industries, in particular the attempts of the Berlin Senate to assess the economic contribution of creative industries. We will show the potential for self-organization—and thus self-governance—of creativity and creative industries in Berlin. This potential is linked to the activities of communities of practice that make use of Berlin's specific urban fabric. The “paradoxes of creativity” that have become obvious in the case of Berlin's creative industries concern, for instance, the tension between the autonomy of creative production, on the one hand, and the necessities of professionalization on the other. The local communities of practice—of which most of Berlin's creative industries are made—serve both as quality evaluation circles and drivers of creativity and innovation.Berlin, creative industries, place making, self-governance, communities of practice, professionalization,

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The aim of this study was the investigation of a copper-filled TiO2 coating, that in vitro showed good antibacterial properties combined with good tissue tolerance in an animal model. To better understand the antibacterial mechanism of the bioactive coating the release of copper (Cu) ions over time was monitored to be able to detect possible threats as well as possible fields of application. 30 New Zealand White rabbits were divided into two groups with 15 animals per group. In group 1 (control group) Ti6Al4 V bolts were implanted into the distal femur, in group 2 the Ti6Al4 V bolts were coated with four TiO2-coatings with integrated Cu(2+)-ions (4 × Cu-TiO2). Blood tests were performed weekly until the animals were sacrificed 4 weeks postoperative. The maximum peak of Cu and ceruloplasmin concentration could be seen in both groups one week postoperative, whereas the Cu values in group II were significantly higher. The Cu concentration in both groups approximated the initial basic values 4 weeks postoperative. The 4 × Cu-TiO2 coating tested in our rabbit model for total knee arthroplasty is an active coating that releases potentially antibacterial Cu(2+) for 4 weeks with a peak 1 week postoperative. The bioactive coating could be a promising approach for a use in the field of implant related infection, orthopaedic revision and tumor surgery in the future.