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Digitale Medien verschärfen ein altes, organisationales Medienverständnis: Medien sind Materialien der Ordnung und des Managements von Zeit, Raum und Macht. Die Kritik der Konstitution und Effekte digitaler Kulturen nimmt damit die Form einer Medienorganisationskritik an. Der Beitrag umreißt dieses organisationale Apriori kritischer Analyse und seine Implikationen. Welche Reflexions- und Darstellungsweisen stehen nun einer Medienorganisationskritik zur Verfügung, die sich selbst als medial bedingt begreift? Anhand von Beispielen aus Literatur, Theater und bildender Kunst skizziert der Essay Möglichkeiten einer Poetik des Organisierens in digitalen Kulturen und ihrer Verbindung deterministischer und immanenter Prinzipien der Kritik.

Situated in the multiple tints and shades of colour and organization, this chapter is dedicated to colour as organizational force, and to the implications of colour as process for noticing differently in the context of organization and organizing. Noticing colour as process implies staying attuned to its situated volatility and movement, eschewing attempts to reduce the study of chromatics to concerns with meaning and order. Based on colour writings of Goethe, Benjamin and Stewart, the chapter moves towards a ‘chromatic empiricism’ through the notions of situation, scene, attunement, estrangement, montage, and poetics. It ends with a brief note on old and new theories and the tyranny of the drawn line. Situated in the multiple tints and shades of colour and organization, this essay is dedicated to colour as process, and to the implications of colour as process for noticing differently in the context of organization and organizing. Noticing colour as process implies staying attuned to its situated volatility and movement, eschewing attempts to reduce the study of chromatics to questions of meaning and order. Based on colour writings of Goethe, Benjamin and others, the essay moves towards a ‘chromatic empiricism’ through the notions of situation, scene, attunement, estrangement, montage and poetics.

This chapter traces and interrogates media, technology, and organization in their foundational relations, their forms, and their constraining and loosening effects and affects. The folding of humans and technology works both ways: human bodies can, too, be apprehended prosthetically as extensions of technologies. The notion of media then applies to any object that conditions the structure of a certain situation and the specific possibilities of perceiving, acting, and thinking in it. If we begin with this understanding of technology and media as fundamental, conditional, and infrastructural, then how organization takes place is predicated upon such apparatuses. The task is then not one of finding better uses of desks, smartphones, presentation software, or high heels, for all of these have modes of subjectification scripted into them. Rather, it is remaining alive to the hesitations already provided: the glitches, accidents, misuses, and alternative projections, and to wander and wonder with them.

The battle between cities with regard to their creative possibilities has evolved into a process of multiplying ever-new images and variegated stories of urban attractiveness and success. Engineering "cool" images and "hot" stories about one's city is now a central endeavor in the narratives of urban policy-making that center more and more on the idea of the entrepreneurial city. The making of an entrepreneurial image is enacted through various narrative genres that lie somewhere between place making and place marketing, between branding and boosting, between restoration and revanchism, between iconic architecture and mega-spectacle. This "imagineering" is not only part of the way cities try to (re)present themselves as entrepreneurial to various audiences through a real "image inflation" (Zukin, 2008, p. xii) but is 1 Forthcoming in: B. Lange,.A. Kalandides, B. Stoeber, I. Wellmann (Hrsg.) (2009): Governance der Kreativwirtschaft. Diagnosen und Handlungsoptionen. Transcript-Verlag, Bielefeld. 2 also inscribed in the various ways urban creativity and entrepreneurship can be studied, researched and imagined. In this chapter we aim to differentiate the political narratives of the entrepreneurial city as we emphasize the need to understand the politics of narration and make a plea for critical reflexivity in our forms of researching and theorizing. We will thus try to investigate how the politics of narration is intertwined with the narration of political concepts and will argue that the narrating of urban entrepreneurship can raise very different images and discourses of city life beyond those that are currently engineered. We will distinguish between a grand narrative, a counter-narrative, and an assemblage of more ambivalent little narratives, which we call prosaic narration. While the distinction between these three types might be seen as a bit too simple and "straight", we believe that by juxtaposing these different forms of narration and alternating between them, we can help problematize the engineering of the city as entrepreneurial and imagine alternative views both of city life and of what is understood as its creativity.