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Ten years ago, Richard Florida published a path-breaking book about the forces that were reshaping our economy, our geography, our work, and our whole way of life. Weaving story-telling with reams of original research, he traced a fundamental theme through a host of seemingly unrelated changes in American society: the growing role of creativity. In the decade since, we have endured a series of world shattering events--from the collapse of the tech bubble to 9/11 to the economic meltdown of 2008--any one of which might have been sufficient to derail the forces he described Instead, the drive towards creativity as only intensified, both in the US and across the globe. In late 2011, the social media site LinkedIn reported that the word most used by its members to describe themselves was "Creative." In this newly revised and expanded edition of his now classic book, Florida has brought all of its statistics up to date (and provided a host of new ones); further refined his occupational, demographic, psychological, and economic profile of the Creative Class; incorporated a decade's worth of his own and his colleagues' quantitative and qualitative research; and addressed his major critics. Five completely new chapters cover the global effects of the Creative Class and explore the integral features and factors that shape "quality of place" in our rapidly changing cities and suburbs. Florida delves into the roles played by technology, race, and poverty in perpetuating and exacerbating income inequality and the pervasive influence of class throughout every aspect of society. Throwing down the gauntlet, he proposes a dramatic new social compact for our time--one that can turn our emerging Creative Economy into an enduringly Creative Society. We currently inhabit a strange period of interregnum in which the old order has collapsed and the new order is not yet born, Florida writes. The old order has failed; attempts to bail it out, to breathe new life into it or to somehow prop it back up are doomed to history's dustbin. The key is not to limit or reverse the gains that the Creative Class has made but to extend them across the board, to build a more open, more diverse, more inclusive Creative Society that can more fully harness its members'-- all of its members'--capacities.

Tabla de contenidos provista por Syndetics

• Preface to The Rise of the Creative Class, Revisited(p. vii)
• Preface to the Original Edition(p. xxi)
• Introduction
• 1 The Transformation of Everyday Life(p. 1)
• Part 1 The Creative Age
• 2 The Creative Economy(p. 15)
• 3 The Creative Class(p. 35)
• Part 2 Work
• 4 The Machine Shop and the Hair Salon(p. 65)
• 5 Brave New Workplace(p. 84)
• 6 No-Collar(p. 100)
• Part 3 Life
• 7 Time Warp(p. 125)
• 8 The Experiential Life(p. 133)
• 9 The Big Morph(p. 157)
• Part 4 Community
• 10 Place Matters(p. 183)
• 11 The Geography of Class(p. 203)
• 12 The 3T's of Economic Development(p. 228)
• 13 Global Reach(p. 266)
• 14 Quality of Place(p. 280)
• 15 Building the Creative Community(p. 304)
• Part 5 Contradictions
• 16 The Geography of Inequality(p. 353)
• 17 The Inclining Significance of Class(p. 366)
• Conclusion
• 18 Every Single Human Being Is Creative(p. 383)
• Appendix(p. 401)
• Notes(p. 437)
• Acknowledgments(p. 467)
• Index(p. 469)

Reseñas proporcionadas por Syndetics

CHOICE Review

A decade after the first edition (CH, Dec'02, 40-2276), Florida (Univ. of Toronto, Canada) reexamines his ideas concerning the transformation of an economy driven by services, which previously supplanted manufacturing, into one driven by creativity. A discussion of what creativity means can be summed up in two ways. First, it distinguishes humans from other animals. Second, it is the essential ingredient in increased standards of living. As Florida quotes Paul Romer, real progress depends on "better recipes, not more cooking." Society responds by rewarding the creative class with higher incomes (roughly two to three times higher, on average, than workers in other sectors earn) and with more dependable incomes (unemployment rates under 5 percent in the most recent recession). The increased importance of creativity brings into sharp focus Schumpeter's description of capitalism as "creative destruction." Ideas emerge and social norms become obsolete. The personal and professional lifetime commitments of an earlier era are relics yet to be replaced with new compacts that are received with anything near consensus. The optimistic conclusion is that all people are creative beings, so perhaps the solutions to the problems stemming from that creativity are not beyond us. Summing Up: Recommended. All collections and readership levels. J. M. Nowakowski Muskingum University

Notas de autor provistas por Syndetics

Author of the bestselling The Rise of the Creative Class and Who's Your City? Richard Florida is a regular columnist for The Atlantic . He has written for the New York Times , the Wall Street Journal , The Economist , and other publications. His multiple awards and accolades include the Harvard Business Review 's Breakthrough Idea of the Year. He was named one of Esquire magazine's Best and Brightest (2005) and one of BusinessWeek 's Voices of Innovation (2006). He lives in Toronto, Canada.