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‘The habits of the creative class fly in the face of the previous archetype of the ideal employee – the “organisation man”, a model of obedience and conformity’įlorida's observations extend beyond the professional sphere. Flexible hours, casual clothing and a stimulating work environment are prerequisites for the creative class. With the advent of the creative class, the once marginal work habits of artists and scientists are about to become mainstream. The book also serves as a management manual, with its share of cautionary advice: creative work cannot be “taylorised” like factory or office work. At the heart of this revolution, Florida identifies a “super-creative core” made up of “people in science and engineering, architecture and design, education, arts, music and entertainment whose economic function is to create new ideas, new technology, and new creative content.” Around this core, we find a broader group of “creative professionals” working in business, finance, and law, who “engage in complex problem-solving that involves a great deal of independent judgement and requires high levels of education or human capital”. He goes on to claim that by turning their creativity into goods and services, over 38 million Americans – 30% of the country's workforce at the time of publication – are re-shaping production norms at the dawn of the 21 st century. The opening line to his 2002 bestseller reveals the scale of Richard Florida's ambition. “This book describes the emergence of a new social class”. How the “creative class” changed the way we work
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