Developing a Creative Cluster in a Postindustrial City: CIDS and Manchester

O’Connor, Justin; Gu, Xin

doi:10.1080/01972240903562787

Cited by 46 publications

(22 citation statements)

References 47 publications

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“…The growth in importance of creative city policies and the ideology of urban competiveness means that cities have, in recent decades, sought to "operationalize" creative activities and the associated symbolic capital to produce economic results. There has been a rise in "active state" policies from the expansion of higher education, including arts, design, and media subjects, to public investments in workspaces, studios and incubators, publicly funded networks, and intermediaries and tax incentives devised to lure firms, particularly in the media sectors, from one urban location to another (O'Connor & Gu, 2013).…”

Section: London: the Creative City As An Idea And As Policymentioning

confidence: 99%

Cultural Capital: Arts Graduates, Spatial Inequality, and London’s Impact on Cultural Labor Markets

Oakley

Laurison

O’Brien

et al. 2017

American Behavioral Scientist

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This article looks at the degree to which spatial inequalities reinforce other forms of social inequality in cultural labor markets. It does so using the example of London, an acknowledged hub for the creative and cultural industries. Using pooled data from 2013 to 2015 quarters of the United Kingdom's. Labour Force Survey, we consider the social makeup of London's cultural labor force, and reveal the extent to which, rather than acting as an "engine room" of social mobility, London's dominance in fact reenforces social class disparities in cultural employment.

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Section: London: the Creative City As An Idea And As Policymentioning

confidence: 99%

Cultural Capital: Arts Graduates, Spatial Inequality, and London’s Impact on Cultural Labor Markets

Oakley

Laurison

O’Brien

et al. 2017

American Behavioral Scientist

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“…While these standalone buildings combine architectural, technology and cultural creativity, and potentially create a liminal space where private-public and market-state can come together, cluster theory and urban geography critiques caution against the horizontal functionalization of the cultural where the economic is prioritized in an agenda led by the expediency of urban regeneration (see e.g., Mommaas, 2004Mommaas, , 2009O'Connor & Xin, 2010;Scott, 2000;Zukin, 1991). There is a danger when culture is simply recreated as a commodity to generate middle-class consumption (Zukin, 1991), especially in the current era where culture is promoted as the catalyst for the flourishing of the creative class imagined by Florida (2002).…”

Section: From Creative Nation To Creative Australia: the Development mentioning

confidence: 98%

Large screens as creative clusters

Yue

McQuire

Papastergiadis

2014

City, Culture and Society

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“…For example, various studies have drawn attention to the tensions between creative policy imaginaries and the everyday realities of creative practices (Lange, 2011;McLean, 2014;O'Connor & Gu, 2010;van Heur, 2010). More broadly, this relates to an identified lack of understanding of the needs of creative producers, and how creative production and consumption rests on a complex ecology of scenes, networks, clusters and formal and informal interactions, which can also be loose and ephemeral (Comunian, 2011;Lange, 2011).…”

Section: Resistance or Mundane Dissonance?mentioning

confidence: 98%

Artists and creative city policy: Resistance, the mundane and engagement in Stockholm, Sweden

Borén

Young

2017

City, Culture and Society

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a b s t r a c tMuch of the literature around notions of the 'creative class' and the 'creative city' has placed artists as a central, typical creative group. However, that literature has often placed artists in a conceptual dichotomy -either they are seen as uncritical champions of creative city policy (because it boosts their profile and markets) or they are placed in radical opposition to it. This paper explores the attitudes of a sample of artists in Stockholm, Sweden to open this dichotomy up to a more nuanced critique. The analysis considers the diversity of views, attitudes and perceptions of these artists towards creative city policy. While opposition and resistance to the application of creative city policy can certainly be found, the paper seeks to move beyond this to examine how the lack of accord between creative producers and policy-makers can be the outcome of more mundane, everyday practices. In addition, artists join together in specific projects and loose, ephemeral networks to address the issues surrounding the implementation of creative city policy in ways which oppose it but also seek alternatives through engaging planners and the public. Overall the paper calls for an understanding of artists which goes beyond the enthusiast/opponent dichotomy towards developing an understanding of the diverse range of artist responses and engagement with creative city policy.

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Developing a Creative Cluster in a Postindustrial City: CIDS and Manchester

Cited by 46 publications

References 47 publications

Cultural Capital: Arts Graduates, Spatial Inequality, and London’s Impact on Cultural Labor Markets

Cultural Capital: Arts Graduates, Spatial Inequality, and London’s Impact on Cultural Labor Markets

Large screens as creative clusters

Artists and creative city policy: Resistance, the mundane and engagement in Stockholm, Sweden

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