Den kreative klasse: Forskelle mellem versioner
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Whyte konstaterer, at:
:"''Glaeser takes on its statistical basis, Florida's bohemian index. Using data from 242 cities provided by Florida, Glaeser, an economic geographer, found that the overall "bohemian effect" on economic growth in America was driven by two of the 242: Las Vegas and Sarasota, Fla. "Excluding those cities," he wrote, meant that "bohemianism becomes irrelevant. "Given that I will never believe that either Las Vegas or Sarasota stand as stellar examples of bohemianism, I will draw another conclusion," he wrote: "skilled people" – not artists, by any measure – "are key to urban success."'' ".<br/>
Glaser konstaterer i sin anmeldelse af "''The Rise of the Creative Class''", at "''the gay population has a negative impac''t", med andre ord det stik modsatte af Floridas påstand, og at "there is no evidence to suggest that there is anything to this diversity or Bohemianism, onceyou control fot human capital."<ref>Glaeser: Review</ref><br/>
Steven Malanga har efterprøvet Floridas udsagn på dennes eget datagrundlag on konstaterer, at tværtimod Floridas påstande viser det sig, at de byer, som rangerer som de mest "kreative" nærmest undergår de mindst "kreative" med hensyn til jobskabelse:
:"''..since 1993, cities that score the best in Florida's analysis have actually grown no faster than the overall U.S. jobs economy, increasing their employment base by only slightly more than 17 percent .. his top cities haven't even outpermormed his bottom ones''" (og om disse bundplacerede byer: "''.. Florida's ten cities turn out to be jobs powerhouses, adding more than 19 percent to their job totals since 1993 - faster growth even than the national economy.''" Han fortsætter: "''Jobs data going back 20 years, to 1983, show that Florida's top ten cities as a group actually do worse, lagging behind the national economy by several percentage points, while his so-called least creative cities continue to look like jobs powerhouses, expanding 60 percent faster than his most creative cities during the same period.''" Han sammenligner med en undersøgelse foretaget af "National Commission on Entrepreneurship" i 2001 kaldet "Mapping America's Entrepreneurial Landscape" viser grove fejl i Floridas metode. Ydermere konstaterer han, at Floridas "kreative" byer ikke blot ikke er i stand til at tillokke kreative personer men endda mister dem, de har. At byerne alligevel vokser, skyldes tilkomst af ukvalificerede migranter og konstaterer, at "''the U.S. residents they loose are, by and large, better educated and wealthier than the migrants they attract.''"<ref>Malanga</ref>
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Florida har i forhold til Malanga senere forsøgt at forsvare sig med, at det afgørende ikke er antallet af nye job, men derimod hvor godt lønnet de er, der er afgørende.<ref>Florida: "Revenge of the squelchers" (''The Next American City'', Issue 5, july 2004)</ref> Heller ikke det argument har stået uimodsagt. Klaus Mortensen har påpeget, at "det er langtfra sikkert, at der vil være en lønmæssig polarisering mellem de kreative og de ikke-kreative" og uddyber:
:"''For de kreative medarbejdere er det imidlertid et mål i sig selv at få lov til at lave kreativt arbejde, så mange kreative - især de yngre generationer på arbejdsmarkedet - vil stille sig tilfreds med lave indtægter. For de ikke-kreative vil arbejdet omvendt typisk være et middel til at tjene penge, og derfor vil de ikke-kreative stille større krav til minimumsløn, hvis de kan det.''" Han peger på, at der vil "''være langt større spredning i indkomsten hos de kreative, hvor de mere succesfulde kan tjene mange gange mere en de mindre succesfulde.''"<ref>Klaus Æ. Mortensen: "De kreative og de ikke-kreative" (''Fremtidsorientering 3'', 2006)</ref> Skønt udsagnene vedrører Nordeuropa, har de sikkert almen gyldighed.
Florida er i virkeligheden enig med Malaga i dennes konstatering af, at "kreative" byer har svært ved at tillokke "kreative" medarbejdere. I kommentaren "Creative Class War" skriver han blandt andet: "''the bigger problem isn't that Americans are going elsewhere. It's that for the first time in modern memory, top scientists and intellectuals from elsewhere are choosing not to come here.''"<ref>Richard Florida: "Creative Class War" (2004)</ref> Men han forklarer ikke, hvordan dette kan være. Hvis han havde ret i sin udlægning af kreative byers tiltrækningsevne burde dette jo ikke kunne forekomme. I stedet for kritisk at se på sine egne analyser, gør han det til et spørgsmål om etniske og politiske konflikter, hvor Demokraterne gøres til exponenter for fremgang, Republikanere for det modsatte - en tolkning, der ikke er holdbar.
Et studie af 5 europæiske byer (Basel, Berlin, Galway, Skopje og Strassbourg) med udgangspunkt i et "kreativitetsindeks" og forholdet til talent, tolerance, teknologi, musikliv, gadekultur og aktivitet viste nærmest fuldstændig mangel på samvariation mellem de forskellige indikatorer og endda omvendt (negativ) sammenhæng mellem kreativitet og økonomisk vækst.<ref>Troels Jeppesen: "The Creative Class Struggles" (''Kontur'' nr. 10, 2004)</ref>
I et studie af nederlandske byer konstaterer Gerard Marlet og Clemens van Woerkens, at "it is not tolerance or openness to cultural or ethnical diversity that makes cities attractive to the creative class, but - beside job opportunities - aesthetic features like nature and historic buildings, and traditional amenities like culture and cafés. Or in a word: quality-of-place." Tværtimod viser deres studier, at tolerance ingen rolle spiller, eller i hvert fald at de anvendte metoder ikke kan påvise nogen sammenhæng.<ref>Marlet og Woerkens, s. 33f</ref>
== Noter ==
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*[http://creativeclass.com/rfcgdb/articles/Europe_in_the_Creative_Age_2004.pdf Richard Florida and Irene Tinagli: ''Europe in the creative age''; 2004]
*[https://washingtonmonthly.com/magazine/januaryfebruary-2004/creative-class-war/ Richard Florida: "Creative Class War" (''Washington Monthly'', January/February 2004)]
*[https://scholar.harvard.edu/files/glaeser/files/book_review_of_richard_floridas_the_rise_of_the_creative_class.pdf Edward L. Glaeser: "Review of Richard Florida’s ''The Rise of the Creative Class''"]
*[http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1313563 Michele Hoyman & Christopher Faricy: "It Takes a Village: A Test of the Creative Class, Social Capital and Human Capital Theories" (''Urban Affairs Review'', January 2009)]
*[https://www.metropolismag.com/uncategorized/why-i-dont-love-richard-florida/ Karrie Jacobs: "Why I Don't Love Richard Florida" (''Metropolis'', offentliggjort 22. februar 2005)]
*[https://www.city-journal.org/html/curse-creative-class-12491.html Steven Malanga: "The Curse of the Creative Class" (2004)]
*[https://dspace.library.uu.nl/handle/1874/7392 Gerard Marlet og Clemens van Woerkens: "Skills and Creativity in a Cross-section of Dutch Cities" (''Tjalling C. Koopmans Research Institute, Discussion Paper Series nr.: 04-29'')]
*[http://www.thestar.com/article/656837 Murray Whyte: "Why Richard Florida's honeymoon is over" (''Toronto Star'', 27 juni 2009)]
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