La clase creativa. Una aproximación a la realidad española

Abstract

ResumenLa noción de clase creativa y su interpretación de la creatividad, elaboradas por Richard Florida (2002), han abierto una importante vía de investigación y controversia en el panorama sociológico internacional. En este artículo aplicamos sus mediciones al caso de España calculando los tres indicadores que construyen la creatividad (tecnología, talento y tolerancia), cada uno de los cuales está compuesto de tres subíndices. Los datos que ofrecemos están desagregados por comunidades autónomas y provincias. PalabRas ClaveTalento; Tecnología; Tolerancia. abstRaCtThe notion of the Creative Class and its interpretation of creativity, developed by Richard Florida (2002), have opened an important avenue of research and controversy in the international sociological scene. In this paper, we apply Florida's measurements to the case of Spain by measuring the three indicators that build creativity (technology, talent and tolerance), each of which is also composed of three sub-indicators. The data are disaggregated by regions and provinces.

Family practices in the construction of creative professionals. A biographical perspective

“…In this respect, we did not follow the methods of analysis used in Europe (Florida and Tinagli, 2004) which included attitudes towards minorities, self-expression and the index of values. According to the data we have obtained in our research into creativity (Báez et al, 2014 andBergua et al, 2016), 20.23% of occupations in Spain in 2001 could be described as creative. In other words, the use of creativity is required in the performance of tasks in one out of every five occupations.…”

“…We noted a few problems in the quantitative approach that we employed in other studies (Baez et al, 2014;Bergua et al, 2016). One of these was to the difficulty in answering questions concerning the emergence of creativity.…”

Ocupaciones creativas y movilidad social en la ciudad de Buenos Aires

“…Para Bergua, Pac Salas, Báez & Serrano (2016), el planteamiento de Florida arranca del hecho de que en los últimos tiempos la creatividad se ha convertido en un importante objeto de reflexión, análisis y controversia. Se habla de ella desde un punto de vista económico (Howkins, 2005), sociológico (Joas, 1996(Joas, , 2002 o psicológico (De Bono, 2006;Csikszentmihalyi, 1996) y ha entrado en los debates sobre las clases sociales, la ciudad, la industria y la educación entre otros asuntos.…”

“…fijó en la proporción de bohemios, extranjeros o inmigrantes, y homosexuales (Bergua, Pac Salas, Báez & Serrano 2016).…”

The End of Literature; or, What Purposes Does It Continue to Serve?

“… See Florida 2014, Ray & Romano 2013, Henry & De Bruin 2011, Brouillette 2014, Bergua Amores et al 2016 for discussions of the creative industries and classes. According to some of these students of the creative industries, they currently occupy about 30% of the total economy in Western societies.6 "Social energy" denotes the ability of a group to generate solutions for changing life circumstances.…”