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There are many different approaches to the analysis of regional economic growth potential. One of the more recent is the theory of the creative class, and its impact on creative centers. Much of the criticism surrounding this theory is in how the creative class is defined and measured. The goal

There are many different approaches to the analysis of regional economic growth potential. One of the more recent is the theory of the creative class, and its impact on creative centers. Much of the criticism surrounding this theory is in how the creative class is defined and measured. The goal of this thesis is to explore alternate definitions to better understand how these variations impact the ranking of creative centers as well as their location through space and time. This is important given the proliferation of rankings as a benchmarking tool for economic development efforts. In order to test the sensitivity that the creative class has to definitional changes, a new set of rankings of creative centers are provided based on an alternate definition of creative employment, and compared to Richard Florida's original rankings. Findings show that most cities are not substantially affected by the alternate definitions derived in this study. However, it is found that particular cities do show sensitivity to comparisons made to Florida's definition, with the same cities experiencing greater variations in rank over time.
ContributorsDe Luca, Anthony J., Jr (Author) / Mack, Elizabeth A. (Thesis advisor) / Arreola, Daniel (Committee member) / Rey, Sergio (Committee member) / Talen, Emily (Committee member) / Arizona State University (Publisher)
Created2014
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Over the 2000s, Toronto initiated and instituted a process of cultivating itself as a creative city. Entrepreneurial city visionaries found that in order to enter the global market, their planning had to be strategic. This paper explores how Toronto’s policy entrepreneurs used planning, partnerships, and an expanded definition of economic

Over the 2000s, Toronto initiated and instituted a process of cultivating itself as a creative city. Entrepreneurial city visionaries found that in order to enter the global market, their planning had to be strategic. This paper explores how Toronto’s policy entrepreneurs used planning, partnerships, and an expanded definition of economic development to create a “Cultural Camelot.” In addition to competing on the financial and revenue-generating fronts, a coalition of cross-sector leaders took on the challenge of fostering a livable city with a deep social ethos imbued within a variety of dimensions of urban life. This new focus gave Toronto the chance establish itself as a center for innovation, which strengthened urban cultural capital and helped promote the strategic agenda of becoming a competitor in the creative economy sector. Investment in research and creative city strategic planning, coupled with the allocation of financial and human capital resources across a variety of industries, served to encourage creativity, promote culture and competitiveness, and drive economic development.

ContributorsGoldberg-Miller, Shoshanah (Author)
Created2015-02-15