Creativity culture

Similarly, post-industrial society has serviced the creative culture. Many of those most well-equipped to thrive in an increasingly technological society are young adults with tertiary education. As education itself becomes more and more oriented towards producing people capable of answering the need for self-actualization, creativity, and self-expression, successive generations become more endowed with the ability to contribute to and perpetuate such industries. This nuanced change in education, as well amongst the emerging class of young professionals, is itself initiated by what James D Wright identifies as an “unprecedented economic affluence and the satiation of basic material needs.”^[10] Ellen Dunham-Jones as well observes this feature of post-industrial society where “abundant goods [are] equitably distributed [in order that] laborless leisure and self-determination” can be consumed.^[14]

The post-industrial society is repeatedly stressed to be one where knowledge is power and technology is the instrument.^[9] Naturally, where one is creatively inclined, they are advantaged by such a society. The doctrine of “speed, mobility and malleability” is well suited to a dynamic creative industry and as industries of good production decrease in precedence, the way is paved for artists, musicians, and other such types, whose skills are better utilized by the tertiary and quaternary sector.^[14] Urban geographer Trevor Barnes, in his work outlining the Vancouver experience in post-war development, evokes the post-industrial condition, citing the emergence and consolidation of a significant video games industry as a constituent of the elite service sector.^[15]

This increased faculty of the post-industrialist society with respects to the creative industry is itself reflected by the economic history of post-industrial societies. As economic activities shift from primarily primary and secondary sector-based to tertiary, and later quaternary, sector-based, cities in which this shift occurs become more open to exchanges of information.^[16] This is necessitated by the demands of a tertiary and quaternary sector: in order to better service an industry focused on finance, education, communication, management, training, engineering, and aesthetic design, the city must become points of exchange capable of providing the most updated information from across the globe. Conversely, as cities become a convergence of international ideas, the tertiary and quaternary sector can be expected to grow.^[15][16]

A virtual cult of 'creatives' have sprung up embodying and often describing and defending the post-industrial ethos. They argue that businesses that create intangibles have taken a more prominent role in the wake of manufacturing's decline and that in some countries.

Actor and artistic director of the Old Vic Theatre, Kevin Spacey, has argued the economic case for the arts in terms of providing jobs and being of greater importance in exports than manufacturing (as well as an educational role) in a guest column he wrote for The Times. ^[17]

Дата добавления: 2015-09-06