Beyond The Neoliberal Creative City

A buoyant, creative economy can be seen as the saviour of many cities, but behind such ‘urban makeovers’ lie serious problems such as widening inequalities, job precarity, gentrification and environmental issues. In light of the pandemic and climate crisis, how well are city economies, based largely on culture, nightlife and tourism, meeting basic societal needs? Blending lively case studies of alternative cultural practices and spaces with broader theoretical debates, this book explores the opportunities for a more just and sustainable urban future.

A buoyant, creative economy can be seen as the saviour of many cities, but behind such 'urban makeovers' lie serious problems such as widening inequalities, job precarity, gentrification and environmental issues. In light of the pandemic and climate crisis, how well are city economies, based largely on culture, nightlife and tourism, meeting basic societal needs? Blending lively case studies of alternative cultural practices and spaces with broader theoretical debates, this book explores the opportunities for a more just and sustainable urban future.

A buoyant, creative economy can be seen as the saviour of many cities, but behind such ‘urban makeovers’ lie serious problems such as widening inequalities, job precarity, gentrification and environmental issues. In light of the pandemic and climate crisis, how well are city economies, based largely on culture, nightlife and tourism, meeting basic societal needs? Blending lively case studies of alternative cultural practices and spaces with broader theoretical debates, this book explores the opportunities for a more just and sustainable urban future.

Check out the author's video to find out more about the book: https://vimeo.com/124247409 This book provides a comprehensive critique of the current Creative City paradigm, with a capital ‘C’, and argues for a creative city with a small ‘c’ via a theoretical exploration of urban subversion. The book argues that the Creative City (with a capital 'C') is a systemic requirement of neoliberal capitalist urban development and part of the wider policy framework of ‘creativity’ that includes the creative industries and the creative class, and also has inequalities and injustices in-built. The book argues that the Creative City does stimulate creativity, but through a reaction to it, not as part of it. Creative City policies speak of having mechanisms to stimulate individual, collective or civic creativity, yet through a theoretical exploration of urban subversion, the book argues that to be 'truly' creative is to be radically different from those creative practices that the Creative City caters for. Moreover, the book analyses the role that urban subversion and subcultures have in the contemporary city in challenging the dominant political economic hegemony of urban creativity. Creative activities of people from cities all over the world are discussed and critically analysed to highlight how urban creativity has become co-opted for political and economic goals, but through a radical reconceptualisation of what creativity is that includes urban subversion, we can begin to realise a creative city (with a small 'c').

This book critically investigates the declining status of creative workers in contemporary societies following changes associated with the neoliberal creativity discourse – from the distribution of resources around cultural production to consumption, and from the management of ‘labour time’ to ‘life time’. These changes have narrowed career pathways for creative workers, resulting in exploitative working conditions for both professionals and amateurs. The contemporary cultural industries accentuate entrepreneurialism, informed by ‘social network markets’ and a capacity to engage technologised consumer culture. This book suggests that a radically different view is needed to understand how creative workers justify their continued participation in the cultural industries. It pays particular attention to the identities of marginalised cultural workers (underpaid or under-rewarded) and argues that cultural work cannot be understood as a route into entrapment by self-exploitation (sacrificial labour) nor as an abstract form of creative autonomy. Creative workers must engage the ‘artist critique’ to re-claim the social values of making culture as ‘public labour’. Bringing together theory and practice via contemporary case studies, this book is a significant contribution to research on the cultural economy and will be of interest to researchers in this field and practitioners in the management of cultural work.

The shift in the ideological winds toward a "free-market" economy has brought profound effects in urban areas. The Neoliberal City presents an overview of the effect of these changes on today's cities. The term "neoliberalism" was originally used in reference to a set of practices that first-world institutions like the IMF and World Bank impose on third-world countries and cities. The support of unimpeded trade and individual freedoms and the discouragement of state regulation and social spending are the putative centerpieces of this vision. More and more, though, people have come to recognize that first-world cities are undergoing the same processes. In The Neoliberal City, Jason Hackworth argues that neoliberal policies are in fact having a profound effect on the nature and direction of urbanization in the United States and other wealthy countries, and that much can be learned from studying its effect. He explores the impact that neoliberalism has had on three aspects of urbanization in the United States: governance, urban form, and social movements. The American inner city is seen as a crucial battle zone for the wider neoliberal transition primarily because it embodies neoliberalism's antithesis, Keynesian egalitarian liberalism. Focusing on issues such as gentrification in New York City; public-housing policy in New York, Chicago, and Seattle; downtown redevelopment in Phoenix; and urban-landscape change in New Brunswick, N.J., Hackworth shows us how material and symbolic changes to institutions, neighborhoods, and entire urban regions can be traced in part to the rise of neoliberalism.

From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time.

Urban re-industrialisation could be seen as a method of increasing business effectiveness in the context of a politically stimulated 'green economy'; it could also be seen as a nostalgic mutation of a creative-class concept, focused on 3D printing, 'boutique manufacturing' and crafts. These two notions place urban re-industrialisation within the context of the current neoliberal economic regime and urban development based on property and land speculation. Could urban re-industrialisation be a more radical idea? Could urban re-industrialization be imagined as a progressive socio-political and economic project, aimed at creating an inclusive and democratic society based on cooperation and a symbiosis that goes way beyond the current model of a neoliberal city?In January 2012, against the backdrop of the 2008 financial crisis, Krzysztof Nawratek published a text in opposition to the fantasy of a 'cappuccino city, ' arguing that the post-industrial city is a fiction, and that it should be replaced by 'Industrial City 2.0.' Industrial City 2.0 is an attempt to see a post-socialist and post-industrial city from another perspective, a kind of negative of the modernist industrial city. If, for logistical reasons and because of a concern for the health of residents, modernism tried to separate different functions from each other (mainly industry from residential areas), Industrial City 2.0 is based on the ideas of coexistence, proximity, and synergy. The essays collected here envision the possibilities (as well as the possible perils) of such a scheme.TABLE OF CONTENTS //Introduction: Urban Re-industrialization as a Political Project (Krzysztof Nawratek)PART 1: Why Should We Do It? / Re-industrialisation as Progressive Urbanism: Why and How? (Michael Edwards & Myfanwy Taylor) - Mechanisms of Loss (Karol Kurnicki) - The Cultural Politics of Re-industrialisation: Some Remarks on Cultural and Urban Policy in the European Union (Jonathan Vickery)PART 2: Political Considerations and Implications / 'Shrimps not whales': Building a City of Small Parts as an Alternative Vision for Post-industrial Society (Alison Hulme) - 'Der Arbeiter': (Re) Industrialisation as Universalism? (Krzysztof Nawratek) - Whose Re-industrialisation? Greening the Pit or Taking Over the Means of Production? (Malcolm Miles) - Crowdsourced Urbanism? The Maker Revolution and the Creative City 2.0. (Doreen Jakob) - Brave New World? (Tatjana Schneider) - The Political Agency of Geography and the Shrinking City (Jeffrey T. Kruth)PART 3: How Should We Do It? / Beyond the Post-Industrial City? The Third Industrial Revolution, Digital Manufacturing and the Transformation of Homes into Miniature Factories (John R. Bryson, Jennifer Clark, & Rachel Mulhall) - Conspicuous Production: Valuing the Visibility of Industry in Urban Re-industrialisation Strategies (Karl Baker) - Industri[us] (Christina Norton) - Working with the Neighbours: Co-operative Practices Delivering Sustainable Benefits (Kate Royston) - Low-carbon (Re-)industrialisation: Lessons from China (Kevin Lo & Mark Yaolin Wang