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Annals of the University “Constantin Brâncuşi”of Tg-Jiu, No. 1/2008, Volume 2,<br />

ISSN: 1842-4856<br />

hand, the United States is to be found towards the bottom of this list and studies show that this gap<br />

might continue to deepen; however, until a few years ago, its’policies to attract creative capital have<br />

been better.<br />

Conclusions<br />

Even though little-documented, attraction of global talent is a very dynamic and sensitive process.<br />

For the first time in years, the main attraction centre for creative minds from all over the world, the<br />

United States, seem to be losing this leading position. It remains the global leader in technology<br />

development and continue to absorb top scientific, entrepreneurial and artistic talent from other<br />

countries, but have to face the emerging European nations. Sweden, for instance, has a better score<br />

(0.81) in the Euro-Creativity Index, where the US ranks second (0.73), with Finland closely behind<br />

(0.72). The European Union started to pay attention, at least at a formal level, to the dynamics of<br />

creative economies and to creative values. In the Lisbon agenda, leaders committed their nations<br />

and the EU to the goal of becoming “the world’s most competitive and dynamic knowledge<br />

economy by 2010”. Unfortunately, the strategic importance of knowledge-based economy has been<br />

diminished by a series of political problems connected also to a vein of anti-immigrant sentiment<br />

several EU nations seem to have, mostly due to the EU enlargement and the accession of<br />

developing countries. Since most policies were oriented towards the limitation of low-skilled<br />

migrants from these countries, it became difficult sometimes to filter the highly skilled. This might<br />

turn into an advantage for the developing countries, since it is a chance to keep part of their creative<br />

force inside the territory. The problem is, however, whether they will be able to use this competitive<br />

advantage. There is no due attention given to motivation of the creative class in European<br />

developing countries in this moment.<br />

Bibliography<br />

[1] The Work Foundation- “Staying ahead: the economic performance of the UK’s creative<br />

industries”, http://www.theworkfoundation.com/products/publications, iunie 2007<br />

[2] DCMS (Department for Culture, Media and Sport) - “Creative Industries Mapping Document”,<br />

www.culture.gov.uk, 2001<br />

[3] Corrado C., Hulten C., Sichel D. – “Intangible Capital and Economic Growth”, Finance and<br />

Economics Discussion Series Divisions of Research & Statistics and Monetary affairs Federal<br />

Reserve Board, Washington , D.C., 2006<br />

[4] Florida R., Tinagli I. – “Europe In The Creative Age”, www.demos.co.uk, 2004<br />

[5] – International Labour Organisation (ILO), LABORTSA, Labour Statistics Database,<br />

http://laborsta.ilo.org<br />

[6] Florida R. – “The Rise of the Creative Class: and How It’s Transforming Work, Leisure,<br />

Community and Everyday Life”, New York, Basic Books, 2002<br />

[7] Saxenian A. -Silicon Valley's New Immigrant Entrepreneurs, Public Policy Institute of<br />

California, 1999<br />

[8] Inglehart R. - Modernization and Postmodernization: Cultural, Economic, and Political Change<br />

in 43 Societies, Princeton University Press, 1997<br />

[9] Inglehart R and Baker W. – “Modernization, Cultural Change and the Persistance of Traditional<br />

Values”, American Sociological Review, 2000, Volume 65, pp 19-51<br />

473

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