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Die Verhandlung von Stadt, öffentlichem Raum und Kultur im Kontext neoliberaler Stadtpolitiken zeigt sich gegenwärtig in etlichen Regionen und Städten, so auch im slowenischen Ljubljana. Der Beitritt Sloweniens in die Europäische Union katapultierte die slowenische Hauptstadt in den globalen Städtewettbewerb, bei dem die Entwicklung eines einzigartigen Profils zur zentralen Aufgabe wird. Bei diesem Profilierungsprozess orientiert sich die lokale, regionale sowie nationale politisch-administrative Ebene am Leitbild einer creative city und passt sich so dem Umbau von Stadt mittels neoliberaler Politiken an. Gleichzeitig verhandeln Kultur- und KreativakteurInnen sowie politische AktivistInnen mithilfe kultureller und sozial-räumlicher Praxen Vorstellungen von urbanem öffentlichem Raum; dabei entwickeln sie zum Teil Gegenentwürfe zum offiziellen Leitbild. Diese Aushandlungsprozesse werden in der Arbeit theoretisch eingebettet in die kulturanthropologische Europäisierungsforschung und in neuere Konzepte von Raum(-verhandlung). Darüber hinaus verknüpft die Arbeit postsozialistische mit postkolonialen Perspektiven, um spezifische Entwicklungen im Feld adäquat(er) erklären zu können. Empirisch werden die Verhandlungen und theoretischen Konzepte anhand sechs konkreter Orte verdeutlicht: Rog, einer alten Fahrradfabrik, die zu einem Centre of Contemporary Arts umgebaut werden soll; Kino Siska und Spanski Borci, zwei kommerzielle Kulturhäuser; Krater Bezigrad, einem Entwicklungsprojekt für eine urbane Brache; Tabor-Park, der umgestaltet wird um wieder attraktiver für die AnwohnerInnen zu sein sowie einem community Garten. Am Ende der Arbeit steht ein Plädoyer für eine linke(re) Stadtpolitik, mit deren Hilfe Handlungsansätze aufgezeigt werden für den Umgang mit Konflikten im öffentlichen urbanen Raum wie sie in dieser Arbeit exemplarisch für Ljubljana aufgezeigt werden - die in ähnlicher Form aber auch in anderen Kontexten zu finden sind. ; The negotiation of public urban space and culture in the context of neo-liberal urban policies is visible in various cities and regions; this can also be observed in the Slovenian capital Ljubljana. The accession of Slovenia to the European Union ejected the city into the global urban competition where the development of a unique profile becomes essential. In this matter, the local, regional as well as the national political level are oriented towards the concept of the creative city; this concept is closely connected with neo-liberal urban development concepts. Also cultural and creative actors as well as political activists negotiate urban public space with the help of cultural and social-spatial practices. Partially they are developing contrary approaches to the official concept the political level follows. These negotiations are being theoretically embedded in this thesis into cultural-anthropological concepts of Europeanization and new concept of space and its negotiation. Furthermore it brings together postsocialist theories with postcolonial approaches in order to grasp specific developments in the field more precisely. Empirically this is being done by reflecting on six concrete places where these negotiations and theoretical concepts can be observed: Rog, a former bicycle fabrication site which shall be transformed into a Centre of Contemporary Arts; Kino Siska and Spanski Borci, two commercial centres for culture; Krater Bezigrad, a development project of an abandoned site; Tabor park which shall be made more attractive for its users and a community garden. The thesis ends with a call for leftist urban policies with which conflicts that emerge in the public urban space can be addressed adequately.

As we begin a new Millennium, a subtle and positive shift is occurring in all segments of society: an increased emphasis on the future – what it might look like, what challenges and opportunities it might present, and in what ways we might be able to respond most positively. It is emerging at a time of national reflection for organisations and individuals alike – and perhaps none too soon as changes in our social fabric, resource base, business and political environments, and perhaps most importantly, the pace and extent of changes in science and technology, launch us into exciting but uncertain territory in the 21st century. Scenario Planning has been widely used by decision-makers in business, industry and government as a technique to learn about the future before it happens. This paper examines Scenario Planning with the aim of presenting the technique as one relevant to the study of future city planning. A scenario Planning Exercise was completed using Dublin City as a case study, and the step by step process of scenario building evaluated.

O presente relatório de estágio diz respeito ao trabalho final do Mestrado em Turismo e Comunicação, ministrado em parceria pela Faculdade de Letras da Universidade de Lisboa, pela Escola Superior de Hotelaria e Turismo do Estoril e pelo Instituto de Geografia e Ordenamento do Território. O estágio em questão foi realizado ao abrigo do protocolo "Erasmus – Programa de Aprendizagem ao Longo da Vida" e teve lugar em Dublin, na Irlanda. "Exchange Dublin – An Invitation to the City" retrata a realidade de um centro de artes colectivas sem fins lucrativos em Temple Bar, Dublin. A Exchange Dublin tem como tema central as actividades artísticas e culturais, sendo que disponibiliza um espaço livre para a realização de exposições de arte e do mais variado tipo de eventos, tais como concertos musicais, exibições de filmes e documentários, peças de teatro e artes performativas, oficinas de arte, música, fotografia, entre outros, mercados de artesanato, conferências e painéis de discussão dos mais variados temas, aulas de arte, dança, fitness, yoga e meditação, entre outros, e reuniões de grupos temáticos, cujos temas centrais se focam, por exemplo, em poesia, literatura, fotografia, videojogos, audiovisual, cultura popular, música, entre outros. Estas exibições de arte e multiplicidade de eventos culturais são gratuitos e abertos ao público em geral. Esta é a forma que a organização encontrou para democratizar o acesso à arte e à cultura, como partes quintessenciais da vida e da educação das pessoas, tanto para o público como para os artistas. O público vê o seu acesso à arte e à cultura facilitado e o seu gosto pelas mesmas estimulado e os artistas conseguem uma oportunidade única de exibir o seu trabalho e demonstrar o seu talento sem serem julgados ou discriminados. Isto porque é muito difícil para certos artistas, em especial aqueles em começo de carreira, ter acesso a espaços de exibição em galerias de arte, as quais geralmente discriminam certos artistas pelo seu tipo de arte, idade ou estatuto socio-económico. Para ...

Abstract
The Indonesian city of Bandung presents itself as an "emerging creative city." This raises the question of how an "emerging" creative city can attain realisation: when and where is the creative city accomplished? The formalisation of the creative city creates friction – to borrow the term from Tsing. This friction manifests in two ways. First, through its ontological opacity (what is the creative city?), Mould contrasts the "Creative City" (the mainstream understanding of the term) with the lowercase "creative city" (the more grounded, subversive understanding of the term). Second, through political contestation (how and for whom is the creative city?) which Peck and Theodore question through the notion of "fast policy," in dialogue with the notion of "slow policy." However, rather than being a dead end, this article argues that "friction" can repoliticise the creative city by challenging the depoliticisation that occurred through its formalisation.

This paper reports on the development of information and communications technology (ICT) in education at Dublin City University (DCU) in the context of evolving government policy in promoting ICT in education over the past two decades. It uses this historical account to trace the evolution at DCU of a distinctive approach to ICT in education and training at Masters Degree level. This approach can be characterised as a shift from imparting knowledge about computing technology and uses to the practical examination and development of innovative approaches to ICT in the educational process, and reflecting on the implications of these creative approaches for professional development in range of workplace contexts.