Scenescapes makes a strong intellectual, as well as a political argument and is a serious contender to occupy the intellectual gap that has emerged since Richard Florida’s The Rise of the Creative Class (2002) was undermined by both research and reality. The implementation of urban creative policies did not boost local economies as much as Florida’s followers expected. Likewise, the book is written in a clear and lucid way; it directs its argument to policy entrepreneurs, and it is relevant for different fields of cultural research. It will be very useful as a textbook for undergraduate and postgraduate courses in the sociology of culture, urban sociology, cultural planning and cultural policy. It is easy to agree with the authors that ‘scenes inspire the human habitat with meaning’ (175). However, it remains to be seen whether scenes could/should be amenable to governmental design.
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