The creative city does not exist
By Marianna d'Ovidio
Length6h 45m
About this audiobook
Every city wants to become creative, perhaps even the most creative ever. But what does it mean to be a creative city? What images take shape as a consequence? What sort of city do we envisage? Which one are we actually building?
In a journey that starts with Blade Runner and passes through English punk, Milanese creative workers and Star Wars, the book explores the features and outcomes of the creative city, penetrating its dark side but also identifying its assets. In the future, cities must be guided by a vision of a creative city able to be inclusive yet competitive, to open new public spaces and to be socially innovative. This book presents some of the tools that allow us to look at the city as a place whose air makes people free.
Audiobook details
GenrePsychology
Length6 hrs 45 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateSep 30, 2016
LanguageEnglish
Table of contents
1Introduction
344 Seven case studies to build an analytical framework
2Acknowledgments
355 Institutions at work
3Introduction
366 Institutions, culture and creativity
4Framing concepts
37Chapter 4 Social networks in the creative and cultural economy. The case of Milan, Italy20
5Which city?
381 The geography of the creative and cultural economy
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6Creative and cultural economy
392 Social relations and local development
7Chapter 1 The creative and cultural economy in cities
403 Social capital in the urban cultural economy
81 Post-Fordism
414 Creativity and culture in the Milanese region: 4.1 Networks of workers in the cultural economy
92 Mass consumption
425 Functioning social networks with an uncertain future
102.1 Origin and rising of mass-consumption
43Chapter 5 The attractiveness of Milan. Testing the creative class theory
11The industrial revolution
441 Do jobs follow people or do people follow jobs33?
12After the Second World War: free time, available income
452 Researching the attractiveness of Milan: the research design
13Mass-consumption in the making: The 1960s and the 1970s
463 Hard factors
142.2 The commodification of culture
473.1 Labour market and job availability
153 Creating the creative city
483.2 Universities and education
163.1 Creative city as a theoretical model
493.3 Bureaucracy
173.2 Creative city as a paradigm for local development
503.4 Housing and the cost of living
183.3 Creative city as an urban branding
513.5 Accessibility and infrastructures
194 Reaction to the creative city
524 Soft factors
20Chapter 2 Fashion and the creative city
534.1 The image of the city
211 Fashion and identity
544.2 Personal ties
222 The creation of a fashion industry
554.3 The city working atmosphere
233 The creative process
564.4 Quality of life
244 Fashion and the city
575 People do follow jobs… but under certain conditions
254.1 Fashion production and consumption in cities
58Chapter 6 Exploring city and creativity: the fashion industry in London, UK.
264.2 Fashion as a tool for competition among global cities
591 The fashion industry in London through history
27Chapter 3 Supporting the creative and cultural economy. An analytical framework14
602 Branding London as a creative city
281 Cultural policies versus policies for the creative city
613 Fashion designers in London
292 The rules of the game
623.1 Interactions
303 The capitals of the creative and cultural economy
633.2 Creativity
313.1 Cultural capital
644 London fashion industry between art and business
323.2 Economic capital
65Conclusions: the dark side of the creative city
333.3 Social capital
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