The Creative Class and the Creative Economy in Spain

Abstract

This article describes an application in Spain of Florida's model (2002=2010, 2005) about creativity, economy and growth. Creativity is an indicator that measures and combines technology, talent, and tolerance. Each of these is composed of three subindices. The most important conclusion from the data reported here is that creativity in particular, and growth in general, was less related to tolerance than the other two indices. However, the subindex of tolerance reflecting bohemia was important; the other two (foreigners and gays) were not.

Translators, Interpreters, and the Creative Class: an Exploration of the Post-Covid Profession

“…These factors have ensured that over the past few years, Florida's notion of the creative class has gained wider traction, thus influencing other scholarly disciplines and attracting media interest (e. g., Heathcote [2014]; Williams [2016]; Wainwright [2017]). To give some examples, work researching aspects of the creative class regarding rural areas [Eglīte 2022], transnational commuters [Łuczaj, Leonowicz-Bukała & Kurek-Ochmańska 2022], and specific cities and countries (e. g., Báez, Bergua & Pac [2014]; Pavelea et al [2021]) has been done. In addition, the fluid nature of the composition of the creative class has also been analysed and critiqued (e. g., by Kačerauskas [2020]).…”

Ocupaciones creativas y movilidad social en la ciudad de Buenos Aires

“…En la misma línea se sitúan las críticas de Glaeser (2005), aunque centradas en el porcentaje de población bohemia. Para Bergua, Báez & Pac Salas (2014), la creatividad cuestiona cualquier orden instituido, pues consiste en hacer aparecer algo imprevisto. En este sentido está relacionado con el riesgo (Beck, 2002), pues ambos tienen un carácter contingente.…”

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

“…This is the case of Sawyer (2011) who differentiates between individual and sociocultural creativity, of Joas (2005) who supports a model of creative action, and of Csikszentmihály (1990) who attempts to define and measure creativity. However, the question of creativity has been a subject of interest for a number of years with contributions from numerous authors including Milgram (1990), Runco (1990), Rickards (1988), Arieti (1976) and Koestler (1989). One author who placed special emphasis on the study of creativity and education was Amabile (1983).…”