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Journal articles on the topic 'Creative communication'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Webster, Chloe. "Creative communication." Early Years Educator 22, no. 11 (June 2, 2021): 32–33. http://dx.doi.org/10.12968/eyed.2021.22.11.32.

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While parents at Pebbles Childcare had always been involved and interested in their child's learning, lockdown created a new imperative for them to become more engaged. This is now supporting a stronger partnership with the setting.

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Sørensen, Jannick Kirk. "Exploring Constrained Creative Communication." International Journal of E-Services and Mobile Applications 9, no. 4 (October 2017): 1–23. http://dx.doi.org/10.4018/ijesma.2017100101.

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Creative collaboration via online tools offers a less ‘media rich' exchange of information between participants than face-to-face collaboration. The participants' freedom to communicate is restricted in means of communication, and rectified in terms of possibilities offered in the interface. How do these constraints influence the creative process and the outcome? In order to isolate the communication problem from the interface- and technology problem, we examine via a design game the creative communication on an open-ended task in a highly constrained setting, a design game. Via an experiment the relation between communicative constraints and participants' perception of dialogue and creativity is examined. Four batches of students preparing for forming semester project groups were conducted and documented. Students were asked to create an unspecified object without any exchange of communication except the placement of LEGO™ bricks.

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3

Klotz, Robert John. "Deleveraging Creative Capital." International Journal of E-Politics 10, no. 1 (January 2019): 1–11. http://dx.doi.org/10.4018/ijep.2019010101.

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The purpose of this research is to improve understanding of how democratized video technology is changing the market for video communication during political campaigns. The same content analysis methodology was applied to United States senate campaign YouTube videos during both the 2006 election when YouTube first made its mark on politics and the 2016 election a decade later. The evidence does not support the theory that democratized video technology will produce new winners communicating in new ways about political campaigns. The 2016 election was marked by a slight increase in the proportion of repurposed television ads compared to the 2006 election. Over the course of its first decade, the market for political campaign communication on YouTube has increasingly struggled to attract investors of creative capital.

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Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation." Review of Artistic Education 17, no. 1 (March 1, 2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.

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Władyka-Łuczak, Zofia. "Artistic Inspiration: Initiation of an Artistic Communication." Acta Universitatis Lodziensis. Folia Litteraria Polonica 54, no. 3 (September 30, 2019): 223–36. http://dx.doi.org/10.18778/1505-9057.54.13.

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The article is an attempt to answer the question: When and why is artistic communication initiated?The analysis which leads to the final conclusion was conducted on the basis of an autoethnographic analysis of the process of creating Pomnik Początków Miasta Łodzi (Monument to the Beginnings of Łódź). Its main element was the search for the border between the pre-creative and the creative states during an artist’s work. The analysis indicated that: “Regardless of whether I am working on a sculpture which was commissioned or a sculpture for myself, the processes of triggering precreative and creative states are similar. I always begin work by collecting the material. I work as constructivists would like me to: I study the elements which refer to various differentiation systems. [...] I am aware of the fact that the expected transition from the pre-creative to the creative state can happen at any moment. Today, after many years, I already know that it is not worth evaluating the gathered material – the triggering of the creative state is going to happen either way.” The core of triggering the creative attitude is the development of the skills for observing the reality which surrounds an artist, and even more importantly: the development of the skills of extracting from it that which we are used to calling inspiration in the whole complex process. The line between the pre-creative and creative states emerges in the moment when an artist decides to transfer a fragment of the reality they noticed to the work of art they are creating. The evaluation of a work of art is a completely different issue, which was omitted in this article.

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Barker, Richie, and Paul Atkinson. "A new master of the cultural domain? Google’s role in the transactive memory systems of advertising copywriters and art directors." Media International Australia 172, no. 1 (June 6, 2019): 61–73. http://dx.doi.org/10.1177/1329878x19853298.

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Creative practice in advertising is often lauded for its novelty, which is recognised in industry awards and other forms of peer evaluation. However, advertising is commonly required to address broad audiences, which means it needs to reflect popular and common cultural ideas. When developing ideas for a new project, advertising creatives usually undertake a research process that allows them to draw upon popular culture texts and previous advertisements. In the pre-digital era, this activity largely depended on the creative’s relationship to their social milieu, but following the arrival of the Internet and the search engine, the creative research process has expanded in scope and become much faster. However, the idea that search, and we refer particularly to Google search, neutrally supports creative practice requires greater scrutiny. In this article, we explore how Google connects advertising creatives to cultural references by considering research on practitioners’ everyday actions through the lens of transactive memory theory and models of creative process.

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7

Astike, Kristina. "Creative Communication Tools in Vilnius Architectural Heritage Communication." Economics and Culture 18, no. 1 (June 1, 2021): 5–14. http://dx.doi.org/10.2478/jec-2021-0001.

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Abstract Research purpose. The purpose of this study is to single out the tools of creative communication and to identify which of them are most used in the communication of architectural heritage in Vilnius. Design / Methodology / Approach. Comparative analysis of scientific literature, qualitative expert interviews. Findings. The communication of the architectural heritage is multifaceted because the heritage is multifunctional. Heritage communication operates through various channels and is focused on different target groups; however, in order for the communication to be effective, as expected, the coherence of communication is required, as well as a comprehensive approach to all aspects of communication. Structured communication is essential for the best communication impact. Originality / Value / Practical implications. Heritage communication is an actively developing field that is receiving increasing attention from scientists and the public. Much attention is paid to heritage during various cultural events, during which the public has the opportunity to get acquainted with the usually inaccessible heritage or its premises. In this way, the revitalisation of heritage involves urban residents, communities, interested groups who, for cultural, religious or other reasons, are concerned with heritage preservation. Although much attention is paid to heritage communication and sponsors are being attracted, there are fears that the communication of architectural heritage is not sufficient due to the lack of funding for architectural heritage. The consequence of the lack of funding is the disappearance of architectural objects. Thus, the analysis of architectural heritage communication is a relevant and researched topic.

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8

Smith, Stuart, and Stephen Sadow. "!Fantastico! Activities for Creative Communication." Modern Language Journal 74, no. 4 (1990): 547. http://dx.doi.org/10.2307/328572.

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9

Kennedy, Lucille, and Gayle Brewer. "Creative methodologies to enhance communication." British Journal of Learning Disabilities 44, no. 1 (September 15, 2014): 35–42. http://dx.doi.org/10.1111/bld.12107.

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Mickūnas, Algis. "POLYCENTRIC CREATIVE COMMUNICATION: THE DISPOSITIVE." Creativity Studies 11, no. 2 (December 6, 2018): 311–25. http://dx.doi.org/10.3846/cs.2018.6594.

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The essay explicates the polycentric awareness as a ground of communication with anyone, anytime, to the extent that all communication is a sense making process about something. This makes accessible “Others” from other times, present in texts which open communication through linguistic and cultural media. We read Plato and argue with him about justice, or debate the issue of beginning of the universe with astronomers. These two levels, polycentric and dialogical, is supplemented by a concrete analyses of body as an active and interactive dimension with many contemporary technical media, from film, television, Internet, and smart phones. Santrauka Straipsnyje gvildenamas policentrinis potyris kaip komunikacijos pagrindas su bet kuo, bet kada ir tuo lygmeniu, kuriuo bet kokia komunikacija suprantama kaip prasmė, kurianti kokį nors procesą. Dėl to tampa pasiekiami „Kiti“ iš kitų laikų, aprašomų tekstuose, atveriančiuose komunikaciją per lingvistines ir kultūrines medijas. Skaitome Platono tekstus ir ginčijamės su juo teisingumo klausimu arba diskutuojame apie visatos pradžią su astronomais. Šie du lygmenys – policentrinis ir dialoginis – papildomi konkrečiais tyrinėjimais, skirtais kūnui kaip aktyviai ir interaktyviai dimensijai, susietai su daugybe šiuolaikinių techninių medijų – pradedant filmais, televizija, internetu ir baigiant išmaniaisiais telefonais.

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Sidorkina, Olena, Tetiana Poda, Oksana Skyba, Natalia Chenbai, and Ivan Skyba. "Internet communications in the information age: socio-cultural and environmental context." E3S Web of Conferences 258 (2021): 07051. http://dx.doi.org/10.1051/e3sconf/202125807051.

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The article deals with specifics of Internet communications functioning in the information technology era. The emergence and development of Internet communications in human life promote the creation of virtual reality, which significantly changes the forms of relationships between people. Instead of personal meetings and direct communication, people get used to communicating in virtual space. It affects their professional activity, studying, personal life, leisure, etc. The latest forms of Internet communication not only open up to mankind the unique opportunities for a person’s creative self-realization but also make a new socio-cultural reality. Therefore, it is necessary to study the peculiarities of the new forms of Internet communications’ functioning and their impact on social development.

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Плотникова, Л., and L. Plotnikova. "Potential of Word Creation in Dayly Communication." Scientific Research and Development. Modern Communication Studies 8, no. 3 (June 4, 2019): 44–48. http://dx.doi.org/10.12737/article_5ce3b931dbe0a9.23385065.

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In article the examples of word creation recorded in the daily speech are analyzed, structural, semantic and communicative-cognitive features of speech innovations are described. Process of creating of lexical neoplasms is regarded as a linguistic and creative process aimed at the creation of the necessary in this speech situation of the word. New words are distinguished by a variety of word-formation models. The paper notes the most productive derivational affixes and methods of word formation. Results of the linguistic experiment made it possible to draw certain conclusions about the features of the formation of new words and the role of words-stimuli in the process of word production.

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Fitzgerald, Brian. "Creative Choices: Changes to the Creative Commons." Media International Australia 114, no. 1 (February 2005): 83–86. http://dx.doi.org/10.1177/1329878x0511400110.

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This commentary on the Creative Commons provides an overview of the background to its development and an account of the philosophy and objectives that underpin the project. It also provides an update on Australian developments in this area.

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Семенова, Л., and L. Semenova. "Creative Competence in the System of Professional Communication." Scientific Research and Development. Modern Communication Studies 7, no. 5 (September 25, 2018): 43–48. http://dx.doi.org/10.12737/article_5b9f9e0e817fe3.83612322.

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The article defines the value of creative competence for the modern communication specialist, as well as the comprehension of creativity and creative competence. The characteristic of activity of the expert in the sphere of professional communications is given. The article presents the historiographical aspect of the problem, structural models of creativity and creative competence, the algorithm consisting of five stages and methods of its formation in the conditions of modernization and innovation of higher education. The principles of formation of this phenomenon and organizational and pedagogical conditions are named. The article highlights the reasons for the low level of specialists’ creative competence in the field of professional communications and the problems of its formation in the university.

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Staniškytė, Jurgita. "From Institutional Fatigue to Creative Communication." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 72–88. http://dx.doi.org/10.7146/nts.v30i1.106924.

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A considerable decreasing number of visitors to artistic and cultural institutions, which in certain European countries has dropped 50%, the unfavourable demographic situation, receding public finances, the growing competitive ability of user-oriented, interactive entertainment industries, and the new technology sector, which is especially disturbing for artistic institutions in post-Soviet countries, where they are used to limit competition – these are the major issues that are forcing the decision makers of cultural politics to focus their attention on art audiences at the topmost institutional level. In the context of these transformations, the concept of audience development, denominated by Nobuko Kawashima “a conflicting term” almost two decades ago, is becoming even more complex. Placed at the centre of the political and financial agenda of the European Union (EU) by its cultural policy makers, it is, on the one hand, born out of the desire to place part of the financial burden of support for cultural institutions on the shoulders of the public, but on the other hand, it also signals the wish to shake up the passive European citizen, to activate his/her civic sense through artistic practices, or even to help “combat social exclusion”. The article focuses on the theoretical and practical implications as well as the effectiveness and limitations of various forms of audience development employed by publicly funded theatres in Lithuania. Empirical research is based on qualitative interviews with managers and art directors of Lithuanian theatre companies as well as focus group audience research. The larger questions about the possible outcomes of various audience development strategies – whether during these developments, Lithuanian theatres will become places of creative cooperation open to diverse audiences or simply fields of aggressive marketing – will be addressed as well.

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Hartel, Jenna, Rebecca Noone, and Christie Oh. "The Creative Deliverable: A Short Communication." Journal of Education for Library and Information Science 58, no. 3 (July 2017): 176–83. http://dx.doi.org/10.3138/jelis.58.3.176.

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17

Veenendall, Thomas L. "Creative Communication Through the Nonverbal Experience." Inquiry: Critical Thinking Across the Disciplines 7, no. 3 (1991): 30–31. http://dx.doi.org/10.5840/inquiryctnews199173129.

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18

Massarani, Luisa. "Creative Research Communication — Theory and Practice." Journal of Science Communication 16, no. 05 (November 28, 2017): R03. http://dx.doi.org/10.22323/2.16050703.

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This article aims to present a critical analysis of the book entitled “Creative Research Communication ― Theory and Practice”, written by Clare Wilkinson and Emma Weitkamp (Manchester University Press, 2016). We aim to present the structure of the book, highlighting its strengths and successes. Although some chapters focus on the UK, the book offers a wide range of examples of practical activities for the communication of research of global interest and provides very useful tips. Ethical issues and the importance of evaluation, of how to do carry out such evaluation and dissemination, are also presented in an inspiring way. Well-written and objective, the book is a must-read for anyone who works, or aspires to work, in the field of public engagement with research.

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Hartel, Jenna, Rebecca Noone, and Christie Oh. "The Creative Deliverable: A Short Communication." Journal of Education for Library and Information Science Online 58, no. 3 (2017): 176–83. http://dx.doi.org/10.12783/issn.2328-2967/58/3/4.

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Coleman, Stephen. "Communication and creative democracy: Interdisciplinary perspectives." Prometheus 30, no. 3 (September 2012): 333–35. http://dx.doi.org/10.1080/08109028.2012.716223.

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Miyake, Y. "System to Support Co-creative Communication." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2003 (2003): 83. http://dx.doi.org/10.1299/jsmermd.2003.83_5.

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22

Morgan, Courtney G., and Robert J. Lewis. "Moral Ambiguity in Narratives Decreases Creative Performance in Highly Creative People." Journal of Creative Communications 12, no. 2 (July 2017): 150–58. http://dx.doi.org/10.1177/0973258617708376.

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This article seeks to further our understanding of the effects of morality in the media on individual creativity. We present an experiment testing whether morally ambiguous (versus clear) narrative endings can enhance or diminish divergent thinking in a subsequent task. Recently proposed understandings of mass-media entertainment seem to imply moral ambiguity should diminish performance, whereas research on the ‘dark side of creativity’ seems to imply it should enhance performance for highly creative individuals. We elaborate on both views and show results indicating morally ambiguous stories actually decrease creativity (defined in terms of fluency in divergent thinking), at least in the short term, for individuals high on trait creativity. Discussion centres on the multidimensional relationships between media and creativity.

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Blakeman, Robyn, Eric Haley, and Maureen Taylor. "Interagency Collaboration: Account and Creative Teams Speak Out About Their Relationship." Journal of Advertising Education 24, no. 1 (April 22, 2020): 52–68. http://dx.doi.org/10.1177/1098048220914006.

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The relationship between account management and creative is a complicated and ever-changing one. A common theme in the advertising literature is that account and creative teams sometimes struggle with intra-agency communication. This article looks at why communication is still an issue today and what knowledge modern account and creative teams need to know about the others’ role in the agency to close the long-standing communication gap. We asked both account managers and art and creative directors (creatives) what they wished the other understood about their roles within the agency. From their answers, we identify pedagogical suggestions for advertising professors as they work to better prepare students for careers in the industry.

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Matsko, Victoria A. "Integration of creative industries in the communication space of creative centers." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 72–76. http://dx.doi.org/10.30725/2619-0303-2021-2-72-76.

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As a driver of cultural, social and economic modernization, creative industries are interested in continuous development, especially in the current conditions of the global crisis. However, the system of creative centers and creative industries is currently facing problems that hinder the realization of their potential. The concept of the communicative space was formed in the process of analyzing these problems. This article substantiates the main ideas and principles of the concept of the communicative space of creative industries, as well as examines the prerequisites, conditions, forms and intermediate results of its formation and development in the creative centers of Saint-Petersburg.

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O'Regan, Tom, Lisanne Gibson, and Paul Jeffcutt. "Creative Networks." Media International Australia 112, no. 1 (August 2004): 5–8. http://dx.doi.org/10.1177/1329878x0411200103.

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Rowe, David, Greg Noble, Tony Bennett, and Michelle Kelly. "Transforming cultures? From Creative Nation to Creative Australia." Media International Australia 158, no. 1 (February 2016): 6–16. http://dx.doi.org/10.1177/1329878x16629544.

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This article introduces the Special Issue, ‘Transforming Cultures? From Creative Nation to Creative Australia’. Taking its historical reference point from the 1994 national cultural policy Creative Nation, it outlines the issue’s theoretical foundation in the field theory of Pierre Bourdieu, while also signalling field theory’s limitations in relation to transnationalism, ethnic heterogeneity and Indigeneity. This introduction addresses the specific conditions that require an approach that takes full account of the endogenous and exogenous factors influencing the constitution of culture in Australia from Creative Nation to its 2013 successor national cultural policy, Creative Australia, to the present day and beyond. Finally, the issue’s articles, which cover the broadcast media, sport, music, literature, heritage, and Indigenous art fields, are outlined, as are their contributions to advancing understanding of the key social and policy issues shaping the present conditions and future possibilities of Australian cultural fields in the process of transformation.

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Stuhlfaut, Mark W. "The creative code." International Journal of Advertising 30, no. 2 (January 2011): 283–304. http://dx.doi.org/10.2501/ija-30-2-283-304.

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Blakeman, Robyn, and Maureen Taylor. "Team Creative Brief: Creative and Account Teams Speak Out on Best Practices." Journal of Advertising Education 23, no. 1 (November 26, 2018): 39–52. http://dx.doi.org/10.1177/1098048218812132.

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As a communication tool, the creative brief should seamlessly blend business goals with creative vision. This article investigates the role the creative brief plays as an internal communication tool between account and creative teams. Two data sets were collected. Two open-ended e-mail surveys gathered responses from 33 agency account management members and 42 creative and art directors, asking about their perceptions of the creative brief. Based on the two data sets, we offer pedagogical suggestions to advertising professors for ways to embed more discussions of communication and teamwork into creative brief assignments.

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Shevtsova, Olena. "ARTISTIC AND CREATIVE ENVIRONMENT IN THE PROCESS OF FORMATION OF MUSIC-PERFORMANCE COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 145–49. http://dx.doi.org/10.36550/2415-7988-2021-1-195-145-149.

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The article substantiates the pedagogical conditions determined by the essence and content of musical performance activity of the future teachers of musical art. The effective pedagogical condition is the creation of art-creative environment, which integrates competence and personality oriented scientific approaches and is based on the principle of art-pedagogical dialogue. The scientific analysis of the investigated problem allowed determining the pedagogical conditions, which are determined by the essence and content of professional training, peculiarities of art education and allow effectively building the process of formation of musical and performing competence of future teachers of musical art. Such pedagogical condition is determined by the creation of art-creative environment on the basis of competence, personality-oriented and developing learning as pedagogically organized environment, which is conditioned by the specificity of professional activity of a future music art teacher characterized by the systemic interconnection of its objects, integrity, art and aesthetic functionality, provides the use of a set of pedagogical influences, which in turn contribute to the development of professionally significant personal qualities, the formation of artistic and communicative skills, the ability to communicate in a dialogue, creative activity, and to create opportunities for creative self-expression and self-realisation. Dialogue in music pedagogy is the essential basis of music education process, its methodological principle, as the music itself is an act of interpersonal communication. The art-pedagogical dialogue presupposes subject-subject interaction of all the participants of the art communication process, provides its spiritual and emotional richness, contributes to the formation of interpreting skills, development of creative activity of every student. Creating an artistic and creative environment is an effective pedagogical condition based on interdependent scientific approaches to learning, in particular, competence and personality-oriented. Dialogue principles of interaction between teacher and student involve the creation of a new type of communication – artistic and pedagogical dialogue, based on mutual understanding, exchange of views and judgments, evaluative approaches to artistic creativity. The result of such joint activities is the organization of independent creative and exploratory activities of students, knowledge, assimilation and acquisition of creative and executive experience, ability to independent creative activity, self-regulation, self-development, self-expression and self-realization in further professional and life activities.

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Brien, Donna Lee. "Creative Practice as Research: A Creative Writing Case Study." Media International Australia 118, no. 1 (February 2006): 53–59. http://dx.doi.org/10.1177/1329878x0611800108.

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This paper utilises a case study approach to examine practice-led research in a specific discipline of the creative arts by examining the range of research strategies utilised during the author's doctoral studies in creative writing. This personal example is then situated within a broader context through suggestions about the contribution such creative arts-based research practice can make to the development and enhancement of creativity more generally, and an exploration of why this is important.

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MORGAN, Cliff. "Understanding the Creative Commons licence." Learned Publishing 24, no. 1 (January 2011): 51–53. http://dx.doi.org/10.1087/20110108.

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SUTHERSANEN, Uma. "Creative Commons - the other way?" Learned Publishing 20, no. 1 (January 2007): 59–68. http://dx.doi.org/10.1087/095315107779490616.

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Trummel, P. "Rhetoric+typography: creative interaction in modern communication." IEEE Transactions on Professional Communication 31, no. 3 (1988): 124–29. http://dx.doi.org/10.1109/47.7818.

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Shoji, Hiroko, and Koichi Hori. "Creative communication for chance discovery in shopping." New Generation Computing 21, no. 1 (March 2003): 73–86. http://dx.doi.org/10.1007/bf03042327.

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Arnett, Ronald C. "The Creative Praxis of Philosophy of Communication." Review of Communication 15, no. 4 (October 2, 2015): 341–45. http://dx.doi.org/10.1080/15358593.2015.1102406.

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Valantinaitė, Ilona, Živilė Sederevičiūtė-Pačiauskienė, and Viktorija Žilinskaitė-Vytė. "CULTURALLY CONDITIONED VISUAL COMMUNICATION IN CREATIVE EXPRESSION." Creativity Studies 13, no. 1 (April 29, 2020): 216–45. http://dx.doi.org/10.3846/cs.2020.12004.

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The human body and its consciousness interacts with a number of external and internal factors, including, among others, the surrounding environment, experienced emotions, those things seen, things that are possessed and touched, and affection that is experienced, all of which accumulates over time as personal experience. In the aforementioned process memory plays the most significant role and predetermines the extent to which an individual remembers (and perceives) their own experience, and how they identify and are conscious of their own self-esteem, etc. The aim of this research is to record an idea and its transformations by reference to its associations, implementation and interpretations. Thus, transformations require personal experience, memory, knowledge, verbal and nonverbal abilities, as well as psychical phenomena that occur during research through the interaction of the participants. In our research task we presented 5 squares in which fragments of abstract pictures were placed. The participants were asked to freely interpret the fragments and complete the pictures. The results allowed us to conclude that associations and the process(es) of interpretation are inconstant and independent of each other. Associations usually visualise views of our physical environment, whereas intellectual creations are most frequently found in interpretations.

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Pilotta, Joseph J. "KINESTHESIA: THE CREATIVE CONDITION FOR HEALTH COMMUNICATION." Creativity Studies 13, no. 2 (August 18, 2020): 449–59. http://dx.doi.org/10.3846/cs.2020.12696.

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Kinesthesia is a universal condition. It may be understood as the creative condition for all sense and sensibility. Kinesthesia operates as an enabling mechanism of “I can” and “I cannot”. Health communication requires a reconsideration of the situated communicative body and expression found in comparative East/West wellness practices. In order to accomplish this task, the exploration of whole and healthy require a different understanding, that is, that wholeness is a process of the interaction of body’s internal environment and external environment in rhythmic interplay of healthy/unhealthy, wholly/unwholly play. The articulation of the above will see that kinesthesis is the creative condition of maintaining and restoring health. It is through a phenomenology of kinesthesia that the fundamental dimension of health communication can be established as a science.

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Tremblay, Gaëtan. "Creative statistics to support creative economy politics." Media, Culture & Society 33, no. 2 (March 2011): 289–98. http://dx.doi.org/10.1177/0163443710386519.

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Iļinska, Larisa, and Oksana Ivanova. "Creation and Extension of Meaning in Professional Communication." Research in Language 18, no. 3 (September 30, 2020): 283–97. http://dx.doi.org/10.18778/1731-7533.18.3.03.

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The application of different language resources in professional communication reveals the role of cognition in information processing, the interpretive function of language in knowledge construction, and the interrelation of linguistic and extra-linguistic environments. The aim of the present paper is to examine the development of the language of science and the way it is influenced by history, technology, media, genre, and culture. Integrating cognitive approach and pragmatic analysis, the ways of meaning creation and meaning extension have been studied in the popular science texts. Creative thinking and imagination are considered responsible for innovative, creative and insightful thought in general, and, sometimes, for a much wider range of mental activities.

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Donald, James. "Review: Creative Industries." Media International Australia 118, no. 1 (February 2006): 160–61. http://dx.doi.org/10.1177/1329878x0611800124.

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McElhinney, Stephen. "Review: Management and Creativity: From Creative Industries to Creative Management." Media International Australia 123, no. 1 (May 2007): 164–65. http://dx.doi.org/10.1177/1329878x0712300117.

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Zagalo, Nelson. "Creative game literacy. A study of interactive media based on film literacy." Comunicar 18, no. 35 (October 1, 2010): 61–68. http://dx.doi.org/10.3916/c35-2010-02-06.

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In this study we have analysed the current state of media literacy focusing on the game and film art forms. We aim to discover if some problems found throughout the history of film literacy were also occurring in game literacy research. It is also our intention to bring both visions together in order to get the attention of people working in the gaming field. To do this we have studied the cultural and creative dimensions in game literacy. The study is defined culturally by educational and critical approaches, and creatively by design and programming. The study also takes into account film literacy perspectives. We found that game literacy has a strong bias towards the cultural rather than the educational approach. The critical component might face the same problems that occur in film literacy studies. In terms of the creative dimension, we found a lack of investment in and support for research in design and programming practices. In conclusion we believe more interest needs to be generated in game literacy and that the literacy perspective based on creative design and programming with an emphasis on communication instead of education should be the model to follow. En este estudio hemos analizado el estado actual de la alfabetización mediática prestando especial atención al cine y los videojuegos. Hemos intentado analizar si algunos de los problemas encontrados a lo largo de la historia de la alfabetización cinematográfica han existido también en el proceso de la alfabetización en los videojuegos, intentando unificar ambas visiones para captar la atención de las personas que trabajan en el campo de los videojuegos. Para ello, el estudio abarca la alfabetización en los videojuegos en dos dimensiones, la dimensión cultural y la dimensión creativa. La dimensión cultural se define a partir de los enfoques críticos y educacionales y la creativa mediante el diseño y la programación. Estas investigaciones se han llevado a cabo sin dejar de lado la perspectiva de la alfabetización cinematográfica. Hemos descubierto que la alfabetización en los videojuegos tiene una fuerte tendencia hacia el enfoque cultural, sobre todo la vertiente educativa, y que los riesgos que plantea el enfoque crítico presentan problemas similares a los que se registran en los estudios sobre el cine. En cuanto a la dimensión creativa, hemos advertido una falta de inversión para el estudio y la investigación de prácticas de diseño y programación. En conclusión, creemos que la alfabetización en los videojuegos necesita un nivel de motivación. Estimamos urgente la implantación de una perspectiva de alfabetización basada en el diseño creativo y la programación, poniendo especial énfasis en el desarrollo del enfoque comunicativo.

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Райченко and Alyeksandr Raychyenko. "Communication Skills." Administration 4, no. 2 (June 17, 2016): 88–91. http://dx.doi.org/10.12737/20831.

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A key role in the formation, functioning and development of modern social organization plays communication, as a basis to establish, maintain and develop constructive relationships, connections and interactions that ensure consistent and effective achievement of personal, group and social goals. The ability to install, functionally diversify and expand communication in and outside the organization, largely determined by the skill level of the leader, determined, first of all, by business and personal qualities of constructive interactive leader. Development of professional achievements of effective communication the founder and the first head of the department of scientific bases of management of the Moscow engineering-economic institute has formed at its creation, in the making and provides, for the past fifty years, deserved recognition, full support and the progressive development of ideas, effective creative collaboration of students, supporters and followers of the doctor of economic sciences, professor Olimpiada Vasilievna Kozlova.

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Pratt, Andy C. "Creative Clusters: Towards the Governance of the Creative Industries Production System?" Media International Australia 112, no. 1 (August 2004): 50–66. http://dx.doi.org/10.1177/1329878x0411200106.

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The aim of this paper is to critically assess the notion of the creative cluster, and to consider whether it is an appropriate tool for the governance of the creative industries, or even a suitable point from which to begin an analysis of the creative industries. The paper argues that creative clusters are formally a subset of business clusters. A critique of the business clusters literature highlights its shortcomings: a focus on individual firm preferences and a lack of attention to non-economic, situated temporal and spatial variables; a lack of attention to the specificity of particular industries and their associated regulatory peculiarities; and finally, information issues associated with the operationalisation of the cluster model. The paper concludes with a discussion of an alternative approach, looking at a creative industries production system that would better meet the concerns of those seeking to govern the creative industries and creative clusters.

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Hartley, John, and Lucy Montgomery. "Creative industries come to China (MATE)." Chinese Journal of Communication 2, no. 1 (March 2009): 1–12. http://dx.doi.org/10.1080/17544750802638798.

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Prayudi, Prayudi, Kartika Ayu Ardhanariswari, and Ninik Probosari. "The Quadruple Helix Communication Model in Yogyakarta’s Creative City Development." Jurnal ASPIKOM 5, no. 2 (July 15, 2020): 294. http://dx.doi.org/10.24329/aspikom.v5i2.704.

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Developing a creative city is a challenge that requires the collaboration of all creative actors. It is challenging when the development of creative cities adopts the quadruple helix model. The study was essential to introduce the quadruple helix communication model. It employed a qualitative research method to understand how each creative actor communicates and collaborates in the development process of Yogyakarta as a creative city. The result found that the proposed quadruple helix communication model was the development of the transactional communication model. This model emphasized the provision of space for both one way-way and two-way communication to emerge. The quadruple helix communication model helped the development planning of Yogyakarta as a creative city. The use of one-way or two-way communication related to the achieved goal: to inform, consult, collaborate, or empower. Further, this model identified the role of each creative actor in Yogyakarta in developing the creative city.

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Prokofeva, D. A., and N. V. Shamardina. "INFLUENCE OF THE CREATIVE ECONOMY ON MODERN MANAGEMENT OF CREATIVE INDUSTRIES." Vestnik Universiteta, no. 7 (September 7, 2020): 120–27. http://dx.doi.org/10.26425/1816-4277-2020-7-120-127.

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The features of the modern approach to the organization of working process in creative industries, where the key is the concept of “teal organization” distinctive quality characteristics of which are self-government and self-organization, implying independent implementation of the work processes and projects realization by the employees, have been considered. The rules of creating competent communication with the creative class, people who are the driving force of the creative economy, play an essential role in organizing the management of creative industries in modern society. The functioning of “teal organizations” exclusively within the framework of a creative economy, where the greatest value is the realization of the creative potential of the employee, has been examined in the article.

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Smith, Gilly. "Blogging and the creative process." Journal of Media Practice 11, no. 3 (January 1, 2010): 281–87. http://dx.doi.org/10.1386/jmpr.11.3.281_3.

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Ashley, Christy, and Jason D. Oliver. "Creative Leaders." Journal of Advertising 39, no. 1 (April 2010): 115–30. http://dx.doi.org/10.2753/joa0091-3367390108.

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Mastroianni, Bruno. "Promoting cultural change through communication Church Communications: Creative Strategies for Promoting Cultural Change." Church, Communication and Culture 1, no. 1 (January 2016): 162–65. http://dx.doi.org/10.1080/23753234.2016.1181305.

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