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"David Harvey’s new book, Rebel Cities, is the latest entry in his life-long interest in uncovering the intersection between capitalism and urbanization. It’s a collection of previously published, but updated and revised, essays and articles. They are all particularly important to our understanding of both the long fall out of 2008’s economic crash and the rise of urban revolts in Egypt, Greece, New York and elsewhere. "
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Who creates what Harvey calls the “collective symbolic capital” that turned Williamsburg into a real estate bonanza? Well a lot of it comes from the collective labor of the thousands of artists, intellectuals, street musicians, freelancers, community-garden tenders, and everyone else who makes the area desirable. The real estate developers, then, act as a parasitic force on our common-labor, growing rich building the condos that will destroy the communities that are the product of our labor and life-activity. It strikes me that universities act in similar, though less self-destructive, ways. It is all of our labor and intellectual production that gives NYU its reputation, which it then trades on to consume ever more of Greenwich Village, raise money, and develop in the future.
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As work has eroded and become more episodic, not only does the creative class share the economic conditions of the working class, that group also now shares the working-class’s sense of alienation from American politics and antagonism toward the economic elite who have gained so much ground over the last decade. You need to look no further than the growth of the “Occupy Wall Street” movement. On the streets of New York and in cities around the country, you see highly educated young adults joining with displaced working- and middle-class people who believe the American Dream has become nightmare. They have been joined by public and private union members including 300 airline pilots marching in full dress uniform. All are rallying around their shared position as part of the 99% of Americans – a loose coalition much larger and more diverse than any single class.
There is a long tradition of charismatic economic--development troubadours. In the 1990s, it was Michael Porter, a Harvard Business School professor who swept into inner cities with his theories of industry clusters. But Florida has taken the art to a new level, wielding his “creativity index” and making each city feel that, whatever its shortcomings, it has the potential to move up the ladder.
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There is a flip side to this logic of exposure. Jason Potts, Stuart Cunningham, John Hartley and Paul Ormerod co-authored a journal article published in 2008 on the concept of ‘social network markets’ as a general concept that should replace the ‘industrial’ era concept of the creative industries.
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the creative industries are “properly defined in terms of a class of economic choice theory in which the predominant fact is that, because of inherent novelty and uncertainty, decisions to both produce and consume are largely determined by the choice of others in a social network”. People choose to consume based on the choice of others. The weakest version of this was identified by Adorno who wrote (as I have recently noted) that in “Amercian conventional speech, having a good time means being present at the enjoyment of others, which in its turn has as its only content being present”.
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The Price for Music Model strives to provide artists and music rights holders with a monetary return for music content consumed via the internet, addressing the revenue gap arising from digital content being downloaded via non-legitimate channels.
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