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Creative class
From Wikipedia, the free encyclopedia
The Creative Class is a posited socioeconomic class identified by American economist and social
scientist Richard Florida, a professor and head of the Martin Prosperity Institute at the Rotman School of
Management at the University of Toronto. According to Florida, the Creative Class are a key driving
force for economic development of post-industrial cities in the United States.
Contents
1 Overview
2 Background
3 Creative Class occupations
4 The Creative Class and the global economy
5 Places of high Creative Class populations
6 Lifestyle
7 Criticisms:
= 7.1 Statistical indices and creative class composition
= 7.2 Economic growth
= 73 Grassroots resistance
8 See also
9 Notes
10 References
= 10.1 Web references
11 External links
Overview
Florida describes the Creative Class as comprising 40 million workers (about 30 percent of the U.S
workforce). He breaks the class into two broad sections, derived from Standard Occupational
Classification System codes:
= Super-Creative Core: This group comprises about 12 percent of all U.S. jobs. It includes a wide
range of occupations (e.g. science, engineering, education, computer programming, research),
with arts, design, and media workers forming a small subset. Florida considers those belonging to
this group to “fully engage in the creative process” (2002, p. 69). The Super-Creative Core is
considered innovative, creating commercial products and consumer goods. ‘The primary job
function of its members is to be creative and innovative. “Along with problem solving, their work
may entail problem finding” (Florida, 2002, p. 69)
= Creative Professionals: These professionals are the sic knowledge-based workers and include
those working in healthcare, business and finance, the legal sector, and education. They “draw on
complex bodies of knowledge to solve specific problems” using higher degrees of education to do
so (Florida, 2002),
In addition to these two main groups of creative people, the usually much smaller group of Bohemians is
also included in the Creative Class.
hnpsvlenwikipeda orkCreatve class 19men018 Creative lass - Wikipedia, the fe encyclopedia
In his 2002 study, Florida concluded that the Creative Class would be the leading force of growth in the
economy expected to grow by over 10 million jobs in the next decade, which would in 2012 equal
almost 40% of the population.
Background
The social theories advanced by Florida have sparked much debate and discussion. Florida's work
proposes that a new or emergent class—or demographic segment made up of knowledge workers,
intellectuals and various types of artists—is an ascendant economic force, representing either a major
shift away from traditional agriculture- or industry-based economies or a general restructuring into more
complex economic hierarchies.
The theses developed by Florida in various publications were drawn from, among other sources, U.S.
Census Bureau demographic data, focusing first on economic trends and shifts apparent in major U.S.
cities, with later work expanding the focus internationally
A number of specific cities and regions (including California's Silicon Valley, Boston’s Route 128, The
Triangle in North Carolina, Austin, Seattle, Bangalore, Dublin and Sweden) have come to be identified
with these economic trends. In Florida's publications, the same places are also associated with large
Creative Class populations.
Florida argues that the Creative Class is socially relevant because of its members’ ability to spur regional
economic growth through innovation (2002)
Creative Class occupations
Florida says that the Creative Class is a class of workers whose job is to create meaningful new forms
(2002). It is composed of scientists and engineers, university professors, poets and architects, and also
includes "people in design, education, arts, music and entertainment, whose economic function is to
create new ideas, new technology and/or creative content” (Florida, 2002, p. 8). The designs of this
group are seen as broadly transferable and useful, Another sector of the Creative Class includes
positions that are knowledge intensive; these usually require a high degree of formal education (Florida,
2002). Examples of workers in this sector are health professionals and business managers, who are
considered part of the sub-group called Creative Professionals. Their primary job is to think and create
new approaches to problems. Creativity is becoming more valued in today’s global society. Employers
see creativity as a channel for self-expression and job satisfaction in their employees, About 38.3 million
‘Americans and 30 percent of the American workforce identify themselves with the Creative Class. This
number has increased by more than 10 percent in the past 20 years,
The Creative Class is also known for its departure from traditional workplace attire and behavior.
Members of the Creative Class may set their own hours and dress codes in the workplace, often
reverting to more relaxed, casual attire instead of business suits and ties. Creative Class members may
work for themselves and set their own hours, no longer sticking to the 9-5 standard. Independence is
also highly regarded among the Creative Class and expected in the workplace (Florida, 2002),
The Creative Class and the global economy
The Creative Class is not a class of workers among many, but a group believed to bring economic
growth to countries that can attract its members. The economic benefits conferred by the Creative Class
inelude outcomes in new ideas, high-tech industry and regional growth. Even though the Creative Class
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has been around for centuries, the U.S. was the first large country to have a Creative Class dealing with
information technology, in the 1960s and 1970s. In the 1960s less than five percent of the U.S.
population was part of the Creative Class, a number that has risen to 26 percent, Seeing that having a
strong Creative Class is vital in today’s global economy, Europe is now almost equal with America's
numbers for this group. Inter-city competition to attract members of the Creative Class has developed.
Following an empirical study across 90 nations, Rindermann et al (2009)!") argued that high-ability
classes (or smart classes) are responsible for economic growth, stable democratic development, and
positively valued political aspects (government effectiveness, rule of law, and liberty)
Places of high Creative Class populations
Florida's use of census and economic data, presented in works such as The Rise of the Creative Class
(2002), Cities and the Creative Class (2004), and The Flight of the Creative Class (2007), as well as
Bobos in Paradise by David Brooks (whose "bobos" roughly correspond to Florida's Creative Class),
and NEO Power (ttp://www.amazon.com/dp/192121502X) by Ross Honeywill (whose NEOs deliver a
more sophisticated level of evidence), has shown that cities which attract and retain creative residents
prosper, while those that do not stagnate. This research has gained traction in the business community,
as well as among politicians and urban planners. Florida and other Creative Class theorists have been
invited to meetings of the National Conference of Mayors and numerous economic development
committees, such the Denver mayor's Task Force on Creative Spaces
(http://www. denvergov.org/economicdevelopment/template328864.asp) and Michigan governor
Jennifer Granholm's Cool Cities Initiative 2)
In Cities and the Creative Class, Florida devotes several chapters to discussion of the three main
prerequisites of creative cities (though there are many additional qualities which distinguish creative
magnets). For a city to attract the Creative Class, he argues, it must possess "the three "I's": Talent (a
highly talented/educated/skilled population), Tolerance (a diverse community, which has a ‘live and let
live' ethos), and Technology (the technological infrastructure necessary to fuel an entrepreneurial
culture). In Rise of the Creative Class, Florida argues that members of the Creative Class value
meritocracy, diversity and individuality, and look for these characteristics when they relocate (2002).
As Florida demonstrates in his books, Buffalo, New Orleans and Louisville are examples of cities which
have tried to attract the Creative Class but, in comparison to cities which better exemplify the "three
"Ts", have failed. Creative Class workers have sought out cities that better accommodate their cultural,
creative, and technological needs, such as Chapel Hill, San Francisco, Washington, D.C., Austin,
Seattle, Toronto, Ontario and Portland, Oregon. Florida also notes that Lexington and Milwaukee,
Wisconsin have the ingredients to be a "leading city in a new economy"
The “Creativity Index” is another tool that Florida uses to describe how members of the Creative Class
are attracted to a city. The Creativity Index includes four elements: “the Creative Class share of the
workforce; innovation, measured as patents per capita; high tech industry, using the Milken Institute's
widely accepted Tech Pole Index... and diversity, measured by the Gay Index, a reasonable proxy for
an area’s openness" (2002, pp. 244-5). Using this index, Florida rates and ranks cities in terms of
innovative high-tech centers, with San Francisco being the highest ranked (2002).
Florida and others have found a strong correlation between those cities and states that provide a more
tolerant atmosphere toward culturally unconventional people, such as gays, artists, and musicians
(exemplified by Florida's "Gay Index" and "Bohemian Index" developed in The Rise of the Creative
Class), and the numbers of Creative Class workers that live and move there (2002).
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Research involving the preferences and values of this new socioeconomic class has shown that where
people choose to live can no longer be predicted according to conventional industrial theories (such as
"people will go to where the jobs/factories are"), Sociologists and urban theorists have noted a gradual
and broad shift of values over the past decade. Creative workers are looking for cultural, social, and
technological climates in which they feel they can best "be themselves"
Lifestyle
The diverse and individualistic lifestyles enjoyed by the Creative Class involve active participation ina
variety of experiential activities. Florida (2002) uses the term [Street Level Culture] to define this kind
of stimulation. Street Level Culture may include a “teeming blend of cafes, sidewalk musicians, and
small galleries and bistros, where it is hard to draw the line between participant and observer, or
between creativity and its creators” (p. 166). Members of the Creative Class enjoy a wide variety of
activities (e.g,, traveling, antique shopping, bike riding, and running) that highlight the collective interest
in being participants and not spectators (Florida, 2002)
Criticisms
Numerous studies have found fault with the logic or empirical claims of Florida's Creative Class theory
This body of critical empirical research demonstrates how the Creative Class thesis, and the associated
creative city policy prescriptions, in fact exacerbate social and economic inequalities in cities in North
America SIMMSISITI8) Europe, 710) Australia,! and Asia.!"2II31 Jamie Peck argues that the Creative
Class theory offers no causal mechanism and suffers from circular logic.!"4I John Montgomery writes
that “what Florida has devised is a set of indices which simply mirror more fundamental truths about
creative milieux or dynamic cities."!'5! Montgomery also disagrees with the cities that Florida designates
as most creative, writing that London, not Manchester and Leicester, should be one of the top in the
UK. A critique of Florida's research and theoretical framework has been developed by Matteo
Pasquinelli (2006) in the context of Italian Operaismo,
Statistical indices and creative class composition
Scholars in the disciplines of economics, geography, sociology, and related social sciences have
challenged Florida’s conception of the “creative class,” particularly for the perceived fuzziness of the
concept and the lack of analytical precision,!'SI['7I'8] 4 number of studies have found problems with
Florida’s statistical indices.!"61l19120121] Hoyman and Faricy, using Florida’s own indices, find no
statistical evidence that cities with higher proportions of Creative Class workers correlated with any type
of economic growth from 1990-2004.2] By using metropolitan areas as the unit of analysis, the high
degree of socio-spatial variation across the metropolitan region is ignored. Studies and popular accounts
have questioned whether the creative class is more likely to live in the homogenous, low-density
suburban periphery, 25124125]
Social scientists have also identified problems with the occupational composition of the creative class
Economic geographer Stefan Kratke challenges the inclusion of financial and real estate professionals
within the creative class on two accounts: 1) these individuals played a decisive role as the “dealer
class” in the ongoing financial crises, and therefore cannot be considered a basis for sustainable urban
and regional economic growth;!] and 2) the financial and real estate industries (especially in
headquarter cities) are economically significant regional/urban players only because they are largely
“reliant on inflows of wealth created by productive activities in other regions.”26 Moreover, Kratke
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argues that the “political class” is also ill-suited to be included within creative class, as they are, in many
cases, implicated in neoliberal financial deregulation and the rise in highly unstable urban and regional
growth regimes!7I evident through real estate bubbles across the United States and in other countries. In
"Urban Development and the Politics of the Creative Class", Ann Markusen argues that workers
qualified as being in the Creative Class have no concept of group identity, nor are they in occupations
that are inherently creative.{'6] Markusen also notes that the definition of the Creative Class is based
largely on educational attainment, suggesting that Florida’s indices become insignificant after
controlling for education, Markusen argues that Florida “does not seem to understand the nature of the
occupational statistics he uses” and calls for the major occupational groups to be disaggregated.(?8] She
questions the inclusion of particular occupations within these broad categories such as claim adjusters,
funeral directors, tax collectors, yet argues that “[tJhese occupations may indeed be creative, but so too
are airplane pilots, ship engineers, millwrights, and tailors — all of whom are uncreative in Florida's
tally."29] Moreover, it is questioned whether human creativity can be conflated with education since
“[pJeople at all levels of education exercise considerable inventiveness.”2°)
Economic growth
Research shows that economic growth is experienced when the significance of
scientifically/technologically and artistically creative workers is taken into account, but this macro-level
conclusion can be drawn without Florida’s creative class theory, which provides more of an “affirmation
of contemporary class relations.”!3!! Other scholars have criticized the very basis for Florida’s definition
of “creativity” which many argue is conceived of narrowly and is only valued for the potential for
financial and economic growth. !21[33] studies have too questioned Florida’s argument that jobs and
economic growth follow the creative class, and the migration patterns of the creative class have been
challenged, 41135) Rather than validating Florida’s causal logic that attracting the creative class will lead
to economic growth, empirical research shows that successful regions pull and maintain human
capital. 15151
The creative class thesis — and Richard Florida himself — have been criticized for what appears to be a
change in Florida’s prognosis for America’s ailing Rust Belt cities. Florida’s message was so quickly
and enthusiastically adopted by cities because he argued that any city had the potential to become a
vibrant, creative city with the right infrastructure investments, policies, and consulting advice.37] 4
2009 article, "The Ruse of the Creative Class," questions Florida's costly speaking engagements in
struggling industrial cities in which he offered optimistic prognoses!*8! — and his more recent
pronouncements that many American cities may never be saved in the wake of the Great Recession |
The creative class thesis has also drawn criticisms for relying on inner city property development,
gentrification, and urban labor markets reliant on low-wage service workers, particularly in the
hospitality industry, #°10[421831(44(45](461471148]9] Florida has called for service workers! wages to
{50}
tise.
Grassroots resistance
Creative Class Struggle, a Toronto-based collective, has brought these criticisms outside academic
circles, challenging Florida's Creative Class theories as well as their widespread adoption into urban
policy. The group manages an online clearinghouse for information about creative city strategies and
policies, publishes a newsletter and other materials, and works to engage the media and public in critical
dis
Toronto to debate these issues.'521
sion.54] In June 2009, Creative Class Struggle and art magazine Fuse organized a public forum in
hnpsvlenwikipeda orkCreatve class 59mheens Crestve clas - Wikipedia he ee eneycpeda
See also
= Creative city
the Cultural Creatives
= Creative economy
= Integral Theory
= Netocracy
* Quaternary sector of the economy
= Thought leader
= Hipster
Notes
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49. Talbot, David. "How Much Tech Can One City Take?" (http://www.modernluxury.com/san-
francisco/story/how-much-tech-can-one-city-take). San Francisco Magazine. Retrieved 11 February 2013.
50. "Cities must strategize to boost service workers’ pay" (http://www. npr.org/2013/02/06/171257463/cities-
must-strategize-to-boost-service-workers-pay). NPR. Retrieved 11 February 2013.
51. "Creative Class Struggle.” (http//ereativeclassstruggle. wordpress.com). Retrieved 2009-10-16.
52. "Whyte, Murray. (27 June, 2009). Why Richard Florida's honeymoon is over. The Toronto Star."
(http://www thestar.com/article/656837). The Star. 2009-06-27. Retrieved 2009-10-16.
References
On the Poverty of Experts: Between Academization and Deprofessionalization. Hartmann, Heinz,
Hartmann, Marianne, 1982, vol 34, iss 2, pg 193
Florida, R. (2002). The Rise of the Creative Class: And How it’s transforming work, leisure,
community and everyday life. New York: Perseus Book Group
Fussell, Paul. Class, especially chapter titled "Class X". 1983.
Hoyman, Michele and Christopher Faricy. 2009. "It Takes a Village: A Test of the Creative Class,
Social Capital and Human Capital Theories", (http://papers.ssmn,com/sol3/papers.cfim?
abstract_id=1313563) Urban Affairs Review, 44:311-333.
Long, Joshua, 2010. Weird City: Sense of Place and Creative Resistance in Austin, Texas
University of Texas Press
Markusen, A. 2006. Urban development and the polities of the creative class: Evidence from the
hnpsslenwikipeda orkvCreatve class a9men018 Creative lass - Wikipedia, the fe encyclopedia
study of artists. Environment and Planning A, 38 (10): 1921-1940.
= Montgomery, J. (2005). Beware ‘the Creative Class’. Creativity and Wealth Creation Revisited
Local Economy, Vol. 20, No. 4, 337-343, November 2005
= Peck, J. 2005. Struggling with the creative class. International Journal of Urban and Regional
Research 29 (4): 740-770.
= Ray, Paul H. and Sherry Ruth Anderson, The Cultural Creative, New York: Three Rivers Press,
2000
= Rindermann, Heiner, Michael Sailer and James Thompson, 2009. The impact of smart fractions,
cognitive ability of politicians and average competence of peoples on social development. Talent
Development and Excellence 1 (1): 3-25.
= Rindermann, Heiner, and James Thompson, 2011, Cognitive capitalism: The effect of cognitive
ability on wealth, as mediated through scientific achievement and economic freedom.
Psychological Science 22 (6): 754-763
Web references
= Cleveland, Harlan. “After Affluence, What?”, October 1977. Aspen Instit Humanistic Studies
November 3, 2005. [1] (http://ca2.csa.com/ids70/view_record. php?
id=S&recnum=1&SID=cd37618248955f1 ced9def40 fbe8df27&mark_id=cache%3A4&mark_low
=0émark_high=2)
= Saenz, Tara Keniry. “Portraits of U.S. High-Technology Metros: Income Stratification of
Occupational Groups from 1980-2000". March 2005. U Texas, Austin November 31, 2005. [2]
(http://wwwlib. umi.com/dissertations/preview/3 144909)
External links
= CreativeClass,com (http:/Avww.creativeclass.com/)
= Fennville: A Haven for the Creative Class
(http://www. rapidgrowthmedia.com/features/fennville32.aspx) - An article about the city of
Fennville, Mich., which is an example of a city being transformed by the "creative class."
= Creative Class Codes (http://www. ers.usda gov/data-produets/creative-class-county-
codes.aspx#.U8Z9sLEXtQs) - County-level measures of creative class from USDA's
Research Service
= Creative Cities Conference - Lexington KY (http://www creativecitieslexington.com)
= Business Lexington interviews Richard Florida (audio MP3)
(http://www.bizlex.com/Site, Podeasts.html#14027.113117)
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