“…Previous research on locational preferences has questioned Florida's assumptions in comparing the attraction of the 'creative class' to specific regions or city-regions (Houston et al, 2008;Niedomysl and Hansen, 2010;Hansen and Niedomysl, 2009;Andersen et al, 2010). In focusing on the residential preferences of the 'creative class', our results highlight the residential preferences of that group are similar to the choice characteristics of the general population.…”
Section: Discussionmentioning
confidence: 52%
“…In recent years, a number of authors have examined the attraction of particular countries, regions and city-regions for the 'creative class' (Houston et al, 2008;Niedomysl and Hansen, 2010;Hansen and Niedomysl, 2009;Andersen et al, 2010). Such an analysis is based on the assumption within Floridas' thesis that the 'creative class' are highly mobile and attracted to specific regions based predominantly upon the soft amenity-based preferences outlined in the foregoing analysis.…”
Abstract. The desire for 'vibrant', 'bohemian' neighbourhoods forms a focal point of the amenity preferences of Richard Florida's 'creative class' thesis. Here, a vibrant street culture, which includes cafes and restaurants spilling on to the pavement, is implied as being of key importance in the selection of a residential area for creative and knowledge workers. Drawing on quantitative and qualitative data, this paper examines the residential preferences of the 'creative class' in Dublin, Ireland. The results illustrate the continued importance of classic factors in residential decision-making, including housing cost, accessibility and travel-time to place of employment. Moreover, the results also illustrate how changes in the life-cycle, including the decision to have a family, have a direct influence on their residential location choice. While there is a tendency for younger workers to select the city centre, older workers predominantly opt to live in suburban areas with good transport connections to the city centre or their place of employment.
“…Previous research on locational preferences has questioned Florida's assumptions in comparing the attraction of the 'creative class' to specific regions or city-regions (Houston et al, 2008;Niedomysl and Hansen, 2010;Hansen and Niedomysl, 2009;Andersen et al, 2010). In focusing on the residential preferences of the 'creative class', our results highlight the residential preferences of that group are similar to the choice characteristics of the general population.…”
Section: Discussionmentioning
confidence: 52%
“…In recent years, a number of authors have examined the attraction of particular countries, regions and city-regions for the 'creative class' (Houston et al, 2008;Niedomysl and Hansen, 2010;Hansen and Niedomysl, 2009;Andersen et al, 2010). Such an analysis is based on the assumption within Floridas' thesis that the 'creative class' are highly mobile and attracted to specific regions based predominantly upon the soft amenity-based preferences outlined in the foregoing analysis.…”
Abstract. The desire for 'vibrant', 'bohemian' neighbourhoods forms a focal point of the amenity preferences of Richard Florida's 'creative class' thesis. Here, a vibrant street culture, which includes cafes and restaurants spilling on to the pavement, is implied as being of key importance in the selection of a residential area for creative and knowledge workers. Drawing on quantitative and qualitative data, this paper examines the residential preferences of the 'creative class' in Dublin, Ireland. The results illustrate the continued importance of classic factors in residential decision-making, including housing cost, accessibility and travel-time to place of employment. Moreover, the results also illustrate how changes in the life-cycle, including the decision to have a family, have a direct influence on their residential location choice. While there is a tendency for younger workers to select the city centre, older workers predominantly opt to live in suburban areas with good transport connections to the city centre or their place of employment.
“…The geography of creative workers, especially their influence on urban and regional development, has been the subject of numerous discussions in the post-industrial period (Ravbar, Bole and Nared 2005;Clifton 2008;Hansen and Niedomysl 2009;Ravbar 2011;Uršič 2016). Even though psychologists have already developed the appropriate tools for measuring an individual's creativity (Kim 2006), urban and regional studies still find it very difficult to determine who a creative worker actually is because of a lack of this kind of psychological data on different spatial levels (Madanipour 2011).…”
The purpose of the article is to present the key demographic characteristics of the creative labour force in Slovenia and bring attention to some opportunities for a more effective activation of the creative potential. We analysed data from the Statistical Register of Employment. The results indicate that creative workers in Slovenia are not only heterogeneous from the aspect of the employment structure, but that they also differ significantly in terms of gender, age, education, and ethnicity. Even though Slovenia can be compared to the most developed countries in the scope of the creative labour force, it will have to work on stimulating additional development potentials to make it to the top of the list. We conclude that, in the future, a more prominent role should be given to the female creative labour force, young bohemians, and foreign creative people.
“…This would help reasoning about practices and limits of movement as a way to understand the effects of migration in creativity and innovation (Hansen and Niedomysl 2009). Social structures of influence that can be included to study divergence and convergence include gatekeeping roles to endorse and promote new ideas, social norms of communication and exchange of ideas between agents, and social identity as a way to settle and form stable communities.…”
This paper presents a multi-dimensional perspective for the study of creativity and formulates a framework for computational creativity that consists of 1) Culture; 2) Society; 3) Groups; 4) Individual, and 5) Brain. This framework enables the definition of functional relationships among these scales, and captures the effects of time within each scale. Its relevance and usefulness are shown firstly by classifying recent studies of computational creativity, and secondly by illustrating multi-dimensional approaches to the computational study of creativity with sample scenarios grown in a simulation system. The paper closes offering modelling guidelines for the computational studies of creativity.
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