Cultural capital and creative industries

Were you dragged to museums as a kid? If so, that certainly expanded your cultural capital. Inspired by Bourdieu, David Osa Amadasun offers a commentary on the reproduction of taste. Focusing on art galleries — i.e., spaces that in Britain and beyond are coded white and middle class — he asks “why working-class people of colour didn’t use such spaces” and “how the exclusions of cultural value are deep-seated and felt in the body”.

Richard Florida would like us to believe that creative industries are inclusive by definition: after all, one of the three Ts in his formula for urban growth stands for tolerance. A recent report — aptly titled Panic!  on the creative industries in the UK demonstrates they are considerably shaped by substantial inequalities.

Who exactly is the creative city envisioned by Florida for? And how has Berlin incorporated some of Florida’s ideas into its strategy for the bright future? As you scroll down the Urban Development Concept for Berlin 2030, make sure to pause on page 62 and read about creative uses of diversity.

Florida’s fingerprints can be spotted not just in Berlin, but all over urban marketing brochures and videos across the world. He and his wife Rana boast a long list of customers and prominent supporters. Would you feel at home or “like a fish out of water” in the Floridas’ Toronto home

Richard Florida’s latest book, The New Urban Crisis, has been described as a continuation of his “flawed and elitist ideas“. Another reviewin The Jacobin, states that the author “has replaced his airy projections of infinite, creativity-fueled growth with a tone of apocalyptic darkness”. If you’d like to listen to “one of the world’s leading urbanists” (in his own words) speak about the new book, check out his LSE lecture.

 

 

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