Dissertations / Theses on the topic 'Cultural creative'
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Ehrlich, Kornelia. "Creative City Ljubljana?: A Cultural-Anthropological Approach to „Making“ a Creative City." Založba ZRC, 2018. https://ul.qucosa.de/id/qucosa%3A74295.
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This article presents theoretical and empirical insights into how Ljubljana is integrated
into the discourse of a creative city through top-down discourses and practices,
and how bottom-up activists and stakeholders actively position themselves towards
this development. The phenomenon described is an example for the realization of
European cultural policy in a local context on the geopolitical and imaginative periphery of “EU-rope”: Slovenia.
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Maddah, Lina. "Essays on Cultural and Creative Industries: Clustering, Location and Employment Growth." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/671553.
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Aquesta tesi contribueix al debat contemporani sobre el paper econòmic de les Indústries Culturals i Creatives (ICCs).
En primer lloc, la tesi analitza l'impacte de l'especialització en les ICCs sobre el creixement total de l'ocupació entre el
2001 i el 2011 a nivell local, a Catalunya. Partint d'una especificació OLS i després aplicant una regressió quantílica
(QR), els resultats revelen que l'especialització en algunes ICCs impulsa l'ocupació, però només per als municipis
d'alt creixement (en termes d'ocupació). En segon lloc, la tesi investiga a fons l'Àrea Urbana Funcional de Barcelona
(AUFB), pel que fa referència a les pautes de clusterització de les ICCs, mitjançant un mètode SaTScan, la qual cosa
suposa una innovació en aquest àmbit. Els principals resultats suggereixen que les empreses de les ICCs tendeixen a
agrupar-se, especialment a les zones centrals o urbanes. No obstant això, hi ha divergències en les preferències de
les empreses en funció del tipus de coneixement que aquestes fan servir i es destaca el paper de les àrees
perifèriques. En tercer lloc, la tesi ajuda a desenvolupar una imatge més completa dels efectes de les ICCs investigant
si l'existència d'un clúster d'ICCs pot modular les decisions de localització de les empreses a l'AUFBEsta tesis contribuye al debate contemporáneo sobre el papel económico de las Industrias Culturales y Creativas (ICCs). En primer lugar, la tesis analiza el impacto de la especialización en las ICCs en el crecimiento total del empleo entre el 2001 y el 2011 a nivel local, en Cataluña. Partiendo de una especificación OLS y luego aplicando una regresión quantílica (QR), los resultado revelan que la especialización en algunas ICCs impulsa el empleo, pero sólo para los municipios de alto crecimiento (en términos de empleo). En segundo lugar, la tesis investiga en profundidad el Área Urbana Funcional de Barcelona (AUFB), por lo que se refiere a las pautas de clusterización de las ICCs, utilizando un método SaTScan, lo que supone una innovación en este campo. Los principales resultados sugieren que las empresas de ICCs tienden a agruparse espacialmente, sobretodo en áreas centrales o urbanas. Aún así, hay diferencias en las preferencias locacionales de las empresas en función del tipo de conocimiento que éstas utilizan y se destaca el papel de las áreas periféricas. En tercer lugar, la tesis ayuda a desarrollar una imagen más completa de los efectos de las ICCs mediante la investigación de si la existencia de un clúster de ICCs puede modular las decisiones de localización de las empresas en la AUFB
This thesis contributes to the contemporary discussion on the economic role of CCIs. First, the thesis explores the impact of specialization in CCIs on total employment growth between 2001 and 2011 at a local level in Catalonia. Departing from a baseline OLS specification and then applying a Quantile Regression (QR), findings reveal that specialization in some CCIs boosts employment but only for high-growth municipalities (in terms of employment). Second, the thesis investigates the Functional Urban Area of Barcelona (FUAB) more closely, in terms of clustering patterns of CCIs using a SaTScan method which is a novelty in the investigation of industrial agglomeration. The main results suggest that CCIs firms tend to cluster, especially in core or urban areas. Still, there are diffences in the preferences of firms based on their knowledge bases and the role of periphery areas is highlighted. Within the context of cluster lifecycle, the findings identify emerging and mature clusters between 2009 and 2017. This is a novel finding from cluster lifecycle analysis that can have profound policy implications. Third, the thesis helps to develop a more complete picture of the effects of CCIs by investigating whether the existence of a CCIs cluster can modulate the location decisions of firms (CCIs and Non-CCIs) in FUAB
3
Lines, David. "Becoming Musical: Creative Emergence, Cultural Identity and Learning." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72050.
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Domeij, Tina. "An exploration of cultural identity in creative practice." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7230.
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My work is about the feeling of standing in between two worlds of my cultural heritage. To feel connected but at the same time not connected to them. The feeling of missing out in one of my cultural heritage because of the language that I do not fully speak. I use a traditional craft from that side to build a bridge to fill the gap. It is about combining my heritages and the connection/disconnection and fuse them together into one as I am a person of two cultures. By not putting myself in a box that the society wants me to fit in to, I challenge that norm also in my work. I transformed the traditional craft placed in a room of a house to become jewelry. The wearer is allowed to choose what kind of jewelery it is and it can be placed on many different ways. My work is about investigate the meeting of craft on a body, and body in a craft. Its about to invite the Thai practice to my Swedish practice and vice versa and fuse them together.
5
McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.
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Asri, Paramita, and Nikolaos Tsourounakis. "The Eye of Co-Creation: A Guide for Governance of Cultural Co-Creative Projects : Taking Umeå 2014 European Capital of Culture as a Case Study." Thesis, Umeå universitet, Företagsekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85513.
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Creative economies can establish sustainable development through co-creative cultural projects. Project management practice and particularly project governance can balance creativity and control fostering the co-creative environment that inspires and ignites innovation. The success of those cultural projects is the platform that leads to long-term development and growth. This thesis work aims to answer the following research question, “How will project governance structure provide the environment for the co-creation approach to flourish and enhance project performance?” The objective of this research is to examine how the project governance structure creates a conducive environment for the co-creation approach to burgeon and boost project performance. The authors investigate the subject by building a theoretical frame of reference, formulating a proposition and designing the research strategy in order to answer the research question. This research applies the qualitative method through semi-structured interviews based on a case study on Umeå 2014 as the ECoC. Thirteen respondents participated in this research, all of whom are members of the Umeå 2014 Project Team. As secondary data, six interviews with Umeå 2014 project owners were investigated and analysed in order to support and increase the reliability of the research findings from the primary data analysis. All primary and secondary data were analysed based on the theoretical framework. The research revealed that project governance nurtures the environment necessary for co-creation to flourish. The co-creation approach will flourish when developed within the mixture of hierarchical and relational project governance structures that foster co-creative elements. The synergy between co-creation and project governance will boost the potential to achieve sustainable development and long-term growth.
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Galuska, John D. "Mapping creative interiors creative process narratives and individualized workscapes in the Jamaican dub poetry context /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3310395.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.Title from PDF t.p. (viewed Dec. 9, 2008). Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1931. Advisers: John Johnson; Portia Maultsby.
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Wen, Wen. "Scenes, quarters and clusters : new experiments in the formation and governance of creative places in China." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/52840/1/Wen_Wen_Thesis.pdf.
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This thesis examines the formation and governance patterns of the social and spatial concentration of creative people and creative business in cities. It develops a typology for creative places, adding the terms 'scene' and 'quarter' to 'clusters', to fill in the literature gap of partial emphasis on the 'creative clusters' model as an organising mechanism for regional and urban policy. In this framework, a cluster is the gathering of firms with a core focus on economic benefits; a quarter is the urban milieu usually driven by a growth coalition consisting of local government, real estate agents and residential communities; and a scene is the spontaneous assembly of artists, performers and fans with distinct cultural forms.
The framework is applied to China, specifically to Hangzhou – a second-tier city in central eastern China that is ambitious to become a 'national cultural and creative industries centre'. The thesis selects three cases – Ideal & Silian 166 Creative Industries Park, White-horse Lake Eco-creative City and LOFT49 Creative Industries Park – to represent scene, quarter and cluster respectively. Drawing on in-depth interviews with initiators, managers and creative professionals of these places, together with extensive documentary analysis, the thesis investigates the composition of actors, characteristics of the locality and the diversity of activities. The findings illustrate that, in China, planning and government intervention is the key to the governance of creative space; spontaneous development processes exist, but these need a more tolerant environment, a greater diversity of cultural forms and more time to develop. Moreover, the main business development model is still real estate based: this model needs to incorporate more mature business models and an enhanced IP protection system.
The thesis makes a contribution to literature on economic and cultural geography, urban planning and creative industries theory. It advocates greater attention to self-management, collaborative governance mechanisms and business strategies for scenes, quarters and clusters. As intersections exist in the terms discussed, a mixed toolkit of the three models is required to advance the creative city discourse in China.
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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.
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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective.
Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities.
This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap.
Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy
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Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.
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碩士明道大學
設計學院碩士班
98
In recent years, the concept of “cultural creativity” has been become more popular around the world. The Executive Yuan of Republic of China proposed that ‘’challenges 2008: the plan of the national development becomes the main strategy “from 2002. Furthermore, it proposed that “cultural and creative industries” takes a major development industry and with the positive concept of the industry chin to redefine the value of the cultural industry. In addition, it look forward to the accumulation of culture and creativity, creative, cultural and economic could acquired the new structure by the formation and utilization of Intellectual Property, to develop the industry with the international prospect. However, the development and impact of the concept of cultural and creative, With the Mazu belief in cultural representation of Taiwan culture response to this trend which generate a great impact on commercialization of festivals, the development of Matsu product and the development of religion in industrial. Therefore, the concept of cultural and creative industries has become more popular. Nowadays, there are a wide variety of Mazu culture products which enrich the local culture.
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MEI-HSIA, KO, and 柯美霞. "Creative culture governance in Taipei-the case of Songshan Cultural and Creative Park." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/jxayg3.
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碩士國立臺灣師範大學
地理學系
102
In 2002, the Executive Yuan proposed the "Challenge 2008: National Development Plan", the "cultural and creative industries" was put into the project. Under the guidance of the central policy, cultural and creative industries combined reuse of space has become a governance mode, the CCA first set up five Cultural and Creative Parks: Huashan, Taichung, Chiayi, Tainan and Hualien. By the central influence,it was since 1947 (municipality restructuring)in Taipei,its cultural governance began turning to"creative" in 2003. In this study, Songshan Cultural and Creative Park was disscussed to validate Taipei Culture governance creative steering by its production of space, to explore what factors influence the spatial production, and how its spatial reproduction implications marks, through interviews with management units, stationed units, visitors, residents of the neighborhood, participant observation, and historical data collection. The paper used Molotch's "Growth Machine" theory and Lefebvre's "the Production of Space" theory to analyze how the state apparatus produced the Songshan Cultural and Creative Park through governance, and to explore the process and results. The findings of the paper are as follow.First, in the production process of Songshan Cultural and Creative Park, culture was just the means to rationalize domination at the beginning.Second,Taipei City Government advocated the concepts of cultural and creative industries and creativity, to promote cultural governance shift towards creative, the use of public-private partnership to raise financial resources to repair the monuments. With Semi-public and semi-private management, Taipei City Government can still take advantage of monuments (old space) to complete its policy mandate, and the BOT (new) space is responsible for marketing.Third, On the surface, the old and new space don’t interact clearly, but by spacial clusters, visitors will virtually link up two spaces, resulting in weak interactions, but also the spatial reproduction of a new relationship.Finally, the spacial transition for neighborhood residents, there is a certain degree of feeling excluded, and their emotion for Songshan Tobacco Factory is also difficult to cut with the space until the completion of Taipei Dome Complex.
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Hung, Shu-Chin, and 洪淑琴. "The Cheongsam Culture Applied to Research and Creation of Cultural and Creative Products." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qgq44v.
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碩士樹德科技大學
應用設計研究所
107
Cheongsam is Chinese traditional costume with strong oriental element. Its image shows a woman''s simple and elegant temperament, which is pleasing to the eye. In recent years, the element of “culture” has become a leader in the creation of a variety of cultural and creative products that combine the image of ancient servants with innovative techniques. It is worth exploring the design of commodities based on cultural elements taken from cheongsam. The study used content analysis method. Selecting fifteen cultural and creative products which is applied to packaging or styling on the Internet based on cheongsam culture and other culture. This study is to analyze purposive sampling of cultural and creative commodities, and summarize the extraction of culture elements, cultural conversion, and its application to the three-level（inner, external and intermediate）design features of cultural space from analytical results. Based on the analytical results, I combined the meaning of Cheongsam cultural elements to design the cultural and creative commodities. The shape, color and meaning of cheongsam are used to analyze in this thesis, and add the concept of environmental protection. The cheongsam element is regarded as a kind of decorations design. I design five practical cultural and creative commodities and one decorative packaging commodity. Based on the results of this study, I hope to provide the reference for other cultural and creative commodities in the future.
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梁瓊丹. "The Construction of Cultural Creative Products and Creative Strategies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03233105143646655371.
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碩士輔仁大學
管理學院經營管理碩士學程
97
Culture creativity is the key point to transform or upgrade the industry, and it’s also the presentation of social living standard, as well as the emblem of the nation’s image and power. By means of the existing culture assets, how to inspire much more creativity and how to commercialize or industrialize culture become the focal issues of business management. The research highlights the analysis on characteristics of cultural creative industries, the construction and creative strategies of cultural creative products; furthermore, the relationship between product matrix and cultural elements is also included. The project study cases of the research are Taipei Veteran’s Festival and Taoyuan Hakka Tung Blossom Festival. Based on the two cases, the study applies comparison analysis to explore the nature of cultural creative products. The discoveries were start from that the process of industrialization is the way to pass down the culture, and the composition of cultural assets and creativity makes cultural products. Second, the characteristic of the cultural creative industry is the way of resources integration where enterprises play the role of director in charge of creativity management and the configuration of cultural creative products. Third, creative ideas occur on product levels, and whether for culture consumption or culture exploration purpose, the operation will benefit culture preservation. Last but not least, the creative business running strategies isn’t less important than the creation itself though cultural products cannot be devoid of creativity. Only when the creative strategies and product levels fulfill customer’s values could creativity generate industrial values and becomes the fountainhead of cultural industries.
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Hsu, YingTing, and 徐瑩婷. "Text and Representation：An Analysis of the Cultural Creative Factors of the Hakka Specialty Creative Cultural Products." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/43256761697732051994.
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碩士中國文化大學
新聞學系
101
In this study, 2011the Taiwan Hakka specialty as analysis objects and constructs a "cultural elements" and "creative elements" as the indicators of the Hakka creative cultural products. Besides, to analytic approach of the text and analytic approach of the text representation, and to compare Hakka creative cultural products analytic approach of the text and the relationship and the difference of analytic approach of the text representation. Also raise some suggestions for theoretical way and pragmatic way to future creator, government and academic study. It is in-depth interview and text analysis of the text in order to do it according to establishing the research approach and to compare the difference of analytic approach of the text and analytic approach of the text representation. Two findings of the studies： A. Cultural elements and Creative elements analysis. 1.The products are to show Hakka cultural elements. 2.Add new concept to reinforce the new generation identity. 3.Packaging design to represent Hakka construction. 4.The creation of text into the Hakka spirit. 5.To change the extension meaning to adapt the change of society. B. The comparison between analytic approach of the text and analytic approach of the text representation. 1.Subjective disparity 2.Media present disparity 3.Culture disparity
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Chia-Ling, Hsiao, and 蕭嘉鈴. "Value Creation Strategies of A Cultural Creative Company：The Value House Perspective." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/40244156920037408458.
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碩士實踐大學
企業創新與創業管理研究所
97
Recently with knowledge-based economy grows, "aesthetic" develops as main trend in the market. Our government sets the development plan for the Cultural Creative industry with design industrial chain of the concept. The issue of “How to make the entire cultural creative industries becomes a profitable business model” would be the key point of the creative industry. This study focus on the combination of “creative” and “design” , which creates the Taiwan’s souvenir to bring new idea of promoting Taiwan. This research hopes to refer the Value House Strategy, touching services theoretic framework, internet marketing theories to define the case company position for virtual internet world, and figure out the innovative strategies to reach niche market and find the business model to generate greater revenue and profit, which finds the balance point to connect the creation and reality between virtual and physical world. This study discusses the case company business model in virtual world. The case company launches a website names “memorize your life by postcards” to extend customers’ traveling experience via iPhone virtual platform-App Store. Combined with static and dynamic interaction, the simple souvenirs make tourists get into the deep touching as if the real traveling experience comes again and stay.
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Chen, Shu Fen, and 陳淑芬. "Study on Creation of Cultural and Creative Commodity Design ofHakka Imagery." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9kmhnf.
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碩士樹德科技大學
應用設計研究所
107
This study uses Hakka culture as the main body to carry out the extraction of the design attributes of its cultural elements, combined with creative design techniques. Conduct research and creative design of cultural and creative products with cultural connotations and metaphorical meanings. Using the content analysis method, the subjects were sampled intentionally, and three pieces of cultural and creative products were designed for packaging or styling using Hakka cultural images. Three kinds of cultural and creative products that incorporate various cultural elements in packaging or styling design, totaling six pieces, and obtaining research data to conduct research and analysis of creativity and design performance. This study tries to let us comprehend the application of extraction in cultural commodities design, with the application of cultural commodities in design attribute and three levels of cultural space, through analyzing the extraction of cultural elements, the creative expression of conversion to design, the application in cultural commodities design, and the design attribute of cultural space (inner, outer, mid)three levels commodities in design attribute. So, I took16 individual cases for analyses, generalize and sort. After compilation and classification of research, by combing the metaphor of Hakka culture elements with technique of design methods to show the import design attributes, it also have the style of Zentangle. Lastly, by going through self-creation. There are 9 products of 2 series, including the Hakka blue
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Yuan, Tong, and 袁棟. "Cultural and creative ingustries branding strategy." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/06924975661851162534.
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碩士國立臺灣大學
國際企業學研究所
100
To find out what is the core competencies of the cultural and creative industries. To exam the products from different field of this industries by Poter’s Diamond model， to see if there is the same or diference.
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Chiu, Jiahung, and 邱嘉宏. "Robot Design for Cultural Creative Applications." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76513098391306741526.
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碩士臺北城市科技大學
機電整合研究所
100
Tin plate toy robots were designed within 1937 and 1960. Among these tin plate robots, three robots were famous to robot fans, Lilliput, Atomic man robot and Nando robot, made in 1937, 1949 and 1950, respectively. The features of these toy robots were driven by winding a spiral for the robot to walk. The gait of tin plate robot was determined by crank, cam mechanism and linkages.The purpose of this study was to design tin plate robot replica in colossal size, up to 200 centimeters. Woodwork technology was introduced to manufacture the features of the colossal robots. Master and slave microcomputer system was applied in this design for real time purpose. More than five motors were controlled simultaneous with a serial servo controller, by which each motor can rotate to its assigned positions Simultaneously. The motors were controlled by potentiometer feedback with proportional and integral controller feedback to achieve angular positioning. The final product was controlled with the up to date Android system to direct the movement of robots.
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HUANG, MEI-YI, and 黃美嬑. "Design of YunTech Cultural Creative Products." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5w55ax.
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碩士國立雲林科技大學
創意生活設計系
106
President Yang took office at Yunlin University of Science and Technology in 2009. He thought school’s English name too long, so he advocated “YunTech” as school English name and operated by way of brand management. “YunTech” is devoted to cooperation, and designed YunTech cultural creative products over the years. Because of many reasons, the school doesn’t have representative YunTech cultural creative products. After I interviewed the dean of the design department in March 2015, I know that there will be more than 1,000 high school students visiting the school, and the foreign guests will visit every year. But there is no representative product to promote in the school. So, I design a series of YunTech products because of the above reasons. Therefore, I use new ideas as a framework for metaphorical design, that is Similarity judgment model which based on the mode of metaphor design. After that, the three levels of culture are used to analyze the meaning of the YunTech cultural creative products. The final result are four works. Metaphorical cultural and creative products with the promotion of storytelling and campus activities, let users feel the charm and features of the product.
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Yang, Juo-Ping, and 楊若平. "The Application of Creative Commons in the Cultural and Creative Industry." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/b68sy7.
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碩士國立臺灣科技大學
設計研究所
99
Design is a blended production of various elements and inspiration. As a result, appropriation, reference and copy are inevitable methods in design field. However, whether appropriation and reference involving copyright infringement is the issue that most creators concern with. In order to solve copyright disputes, Creative Commons has been promoted in Taiwan since 2003. Despite all the seven-year efforts, its popularity and prevalence are still under expectation and it seems to be caviar to the general. Thus, the purposes of this study were to investigate the possibility of Creative Commons’ functioning in Taiwan’s cultural and creative industry and clarify creators’ attitudes to Creative Commons. Literature review was used to analyze related domestic and foreign cases. People using Creative Commons in the cultural and creative industry were also interviewed in depth. Questionnaire was designed with reference to the interview results, the technology acceptance model (TAM) and the theory of reasoned action (TRA). The results of questionnaire survey were used to find out possible measures to improve Creative Commons’ functioning in Taiwan’s cultural and creative industry. The results of this study were as follows. 1.It was suggested that individual works were more suitable for commercial practice when it came to the exercise of Creative Commons. 2.Creative Commons users’ behavioral intention depended on attitude. Yet, potential elements in users’ attitudes included perceived ease of use, perceived usefulness, social and subjective values and norms, in which perceived usefulness was the most influential. 3.The traits of Creative Commons affected its users’ perceived usefulness and perceived ease of use. Therefore, focusing on the traits of Creative Commons was recommended for promoting Creative Commons. 4.It was helpful for promotion by improving Creative Commons users’ behavioral motivation.
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Hsieh, Chia-Chi, and 謝佳琪. "The Perspectives of Creative Clusters on Taiwan Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vg4b5s.
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碩士國立中山大學
劇場藝術學系研究所
104
The significance of Cultural and Creative Industries(CCI) has had numbers of controversies, but it still belongs to an industry and has potential and benefits in economy. From the aspect of industry development, the phenomenon and the occurrence of cluster effect can recognize the maturity and competitiveness of the industry. Moreover, cultural creation that belongs to the connotations of the industrial cluster effect seems to have some differences from the traditional industry. Government considers cultural creation as the strength and development of a national economy, so it decrees the strategies and the policies which still belong to the developing thinking of traditional industry. Therefore, it is possible to find out that cluster effect is important and effective for CCI development which directs industrial parks, but it still has various aspects of considerations which need to be improved. In addition, from the theory of creative clusters, it mentions the concept of Creative Milieu, which occurs in city among neighborhoods. Observing the current status of Taiwan, creative neighborhood is gradually forming and developing stably. The cluster effect seems to be more active than Cultural and Creative Industries Park, so it is worthy to deeply research the development models of creative neighborhood for the economic effects and potential development of CCI. This research attempts to analyze the current structure and development of CCI in Taiwan through creative clusters theory, to explore the advantages of two modes which are Cultural and Creative Industries Park and Creative Neighborhood, and to discuss what form is more suitable for the development of CCI. Through interviews of organization building cultural and creative neighborhood, interviews of the professionals and industry brand, and personal involvement and observation in both fields, including Creative Neighborhood and Cultural and Creative Industries Park, using philosophy researching method to inquiry, reflect, and verify on the phenomenon; moreover, adopting survey method to collect questionnaires from CCI stores, and to investigate the viewpoint of both of Creative Clusters and Creative Milieu in order to permit the actual situation. By the multiple aspects information, we can conclude the development of CCI, and their respective advantages and appropriate position of the industries parks and neighborhoods. Eventually, whether Creative Clusters succeeds or not, it is not related to the actual output of the industry. Today, we talk about creative cluster, it still depends on the accumulation of creative capital. However, due to the features of cultural and creative output, creative capital doesn’t necessarily turn into economic benefits directly. Therefore, the markets (consumers) need to face Industries Park, but the production (creation, creative) should face Creative Neighborhood. Furthermore, cultural and creative value is divided into intangible and tangible. Creative capital has both of creation and economic production, but its intangible value is much more important. Therefore, when CCI only concerns about their output value, it can’t keep running the industry because of the loss, unsustainable content and spirit. However, it is interesting that the continuing development of the industry needs output value to support itself, so CCI seems to have this dilemma. It can’t be diffusely extended toward economic scale, and it should face the commercial market.
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Chiao-Huei, Wu, and 吳巧惠. "Establishing the Visual image of Cultural and Creative Industries Park- HuaShan 1914 Cultural and Creative Industries Park." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11089344246184792122.
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碩士國立臺灣師範大學
設計研究所
99
The establishment of the cultural and creative industries park has been carried out in European and American countries for many years. According to the development of policy in recent years, our government proposes the plan to establish cultural and creative industries park, in order to complete the environment for developing cultural and creative industries. Nowadays, many cultural and creative industries parks base on the reusing of inactive land and buildings and focus on the space planning and using. The visual image and identity system should combine with the local cultural characteristics, and let people recognize, understand and has the emotion. This research focuses on establishing visual image and identity system for cultural and creative industries park, and find out the character of visual image and identity to improve the communication of visual image and the representation of design. And through literature review, case studies and design practice to discuss and verify, we could import the brand concept into the identity system, and use identity system to promote the visual image. The main conclusions are as follows: (1) The purpose of cultural and creative industries park is through the integration of resources and efficient administrative support to create a space, providing research, education, performances and rest. (2) Most of culture and creative industries parks in Taiwan reuse the inactive land and buildings, and expect to retain the traces of history. But the visual identity is still hard to associate with the local cultural characteristics. (3) Based on literature review, case studies and design practice to discuss and verify, the framework of establishing visual image and identity system is divided into plan and design two stages. (4) It’s the most effective and direct way to communicate through the process of visualization, and people can recognize, understand and has the emotion from the planning and management of identity system. (5) The factors used in identity system of cultural and creative industries park can be divided into standard letters, Logo, and standard color, and derivate to identity signs, direction signs, location signs, buildings signs, symbols, map and street furniture. (6) The visual image of the cultural and creative industries park should have full planning from space, moving route and identity system to keep the cultural image and establish uniform style.
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Yi-Min, Xie, and 謝易珉. "Creation of “Hakka Liu Dui Festival”－ Hakka Liu Dui Cultural Creative Design." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/e748x9.
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碩士國立高雄師範大學
視覺設計學系
98
Taiwan is a place consists of various races. In recent years, the government makes efforts to promote regional activities of culture and creative industry. As a result, local cultural and creative commodities have sprung up. The research studies the characters of Liu Dui Hakka culture. In addidition to the analysis of related records and record of images, we also conduct a case study of Hakka Tung Blossom Festival which has been promoted successfully by the Council for Hakka Affairs in order to realize the characters and advandages or disadvantages of the activity. Hakkak culture originates in Liu Dui. Because of time and regional factors, southern and northern Hakka living cultures begin to development their local characters separately. From the research, we can present not only the Hakka features but also the difference between Liu Dui Hakka cultural feature and northern Hakka cultural feature. In addition, The differences between the creative activities in this study and “Hakka Tung Blossom Festival” will also be discriminated. The purpose of the research are the followings. 1.To realize Liu Dui Hakka culture, to build Liu Dui cultural characters, and to reveal its culture value. 2.To create Liu Dui Hakka cultural activities, to draw up activity discrimination, posters and brochures for activities, creative products, and to mold the new image of southern Hakka culture. The process of doing the research focuses on the analysis of the features of every country in Liu Dui in order to figure out the particular factors among the Liu Dui culture. This cultural activity is denominated as “Hakka Liu Dui Festival”. The factors invovlve the discrimination design and the productions of posters and creative products. This study focuses only on the creative research of Hakka counties in Kaohsiung and Pingtung. However, the marketing of “Hakka Liu Dui Festival” promotion process, the results of promotion and the design of activity content are not included in this study. In sum, conclusions and suggestions are proposed as below: 1. Taking Hakka images as the subject of creation in order to show the characters of Hakka 2. Distinguishing the cultural and creative commodities by applying the particular images of Hakka culture. 3. The methods of creation combined with the factors of Hakka culture can obviously show the images of Hakka. 4. The reference and informations from the images can provide references for researches and cultural and creative commodities in the future. As the result of the research of creation, Liu Dui Hakka culture demands the continuous supports from central government. Meanwhile, to gather up sources and promotion from each Hakka county is also needed. It is also important to continuously inherit Hakka culture and make Hakka culture become prosperously and gloriously. Keywords: Liu Dui, Hakka, Culture and Creative Industry, Visual Design
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SHIH, HUI-CHIAO, and 施慧喬. "The Spirituality and Creation of Female Entrepreneurs in Cultural and Creative Industries." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/85mk89.
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碩士逢甲大學
經營管理碩士在職學位學程
106
In recent years, culture creative industry has been booming. People's consuming behavior has shifted from "function" to "symbol." Consumer’s behavior mainly emphasizes on "feelings" and "meaning". With consumer’s lifestyle, what kind of product are they identified with? Beginning with spirituality, this study is going to explore the relation between the spiritual perspective and culture creative industry, whether the successful cases in this industry are related to spirituality. And how does this spirituality influence the style of a brand? How does consumers' feelings about the brand? How does the consumer feel about the produces? And how does the consumer's spirituality influence or perceive the creativity? Whether is it a spiritual traction or attraction between designers of this industry and consumers? Through the empirical findings of this study, it is contributed to the culture creative industry. The research method employs narrative inquiry and convenient samples. The participants are mainly the female genres assumed being spiritual. In this manner, three founders / directors / chief executives have been selected as the case studies, named Cheng Yun Yi, Tang Shu Hui and Wang Liqin from Green-in-hand Food Bank, Zhulian Snake Kiln and VVG Food Play. We conduct their start-up stories and their business turning points as the base of narrative analysis. Deploying in-depth interviews or speeches codes verbatim scripts, and then with the approach of holistic to content analysis, contrasting the literatures to define the meaning of their entrepreneurial process, the style of their brands and spirituality in theory. Finally, culminating women's creative entrepreneurship and creativity is indeed inspired by the spirituality and affect their entrepreneurial achievements.
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Chang, Ting-Ya, and 張婷雅. "Spatial Creation of Eslite in Cultural and Creative Industry: Urban Competitive Isomorphism." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/aum5d5.
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Yang, Da-Kai, and 楊達開. "Ａ Study of cultural and creative industry from social capital perspective：Case study of Hualien cultural and creative community." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/c72224.
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碩士國立東華大學
藝術創意產業學系
102
This study aims to utilize theory of cultural and creative industry and social capital, to discuss the complementary characteristics of the theories. Refining the position of cultural and creative industry by viewing the cultural and creative industry from social capital perspective. The writer is also a creator, inspecting the importance of social capital to cultural and creative industry by participating Hualien cultural and creative community as research area. Researchers have discussed the concept of social capital and cultural creative industry in the prior studies, also to study the integration of social capital and cultural-creative industry. In further, to discuss the importance of social capital for cultural-creative industry. Meanwhile, to examine the relationship of cultural-creative industry and social capital in Hualien. The research purpose develop as three stages: 1. The correction function of social capital for cultural-creative industry. 2. The format of integration of social capital and cultural-creative industry. 3. The meaning and utilization of social capital on Hualien cultural-creative community. Through mentioned above ideals, this research review prior studies and case studies as leading research, develop depth interview with local Hualien cultural-creative community. Lastly, consider how cultural-creative industry become sustainable industry after integrate with the ideal of social capital.
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葉嘉惠. "A Study on the Practicality of the Cultural Creative Industry:PolicyThe Cultural and Creative Implications of the Jewelry Industry." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6cg5mw.
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碩士國立政治大學
行政管理碩士學程
104
Taiwan's "Cultural Creative Industry development act" was adopted in 2010 after the third reading. According to the definition in article 3, there are a total of 15 types of industries that are classified as part of the "Cultural Creative Industry" , as well as other industries designated by the Central Competent Authority. The classification system of the Cultural Creative Industry decreed in the regulations plays an extremely important role in implementing the promotion of practical Cultural Creative Industry policies. The present study aims to elucidate the changes in policy planning of the Cultural Creative Industry through a literature review and compare the design of Taiwan's Cultural Creative Industry policies with those of South Korea. The jewelry industry was selected as a study case to investigate the practicality of policy implementation of the Cultural Creative Industry, explain the influences on the policy implementation by the design of the bureaucratic organization, and propose a number of reflections and related suggestions.
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Lee, Chiou-Lian, and 李秋蓮. "Local Governance and the Development of Cultural Creative Industry ：A Case Study of Huashan Cultural Creative Industrial Park." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/07360260647095484234.
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碩士國立臺北大學
公共行政暨政策學系碩士在職專班
96
This study explores the gorvernance problems of Huashan Cultural Creative Industrial Park base on different governance periods, and discuss how to reposition with a view of location governance. Furthermore, government department, enterprise organization, art field, and non-profit organization (NPO), each of them has different main purpose. How to integrate individuals, establish common target by location governance and function corporate and make park more efficient is our concern. We introduce literature analysis method and interview to investigate our study purpose. We visited central government, local government, enterprise organization, NGO and community organization that have been operated Huashan Park to compare public department with personal department and explore the differences. The framework is separated into three parts : the first is background, motivation, purpose of research ; the second, illustrate the role of creative culture park in culture creative industry by foreign successful park experience. Furthermore, describe the history of Huashan Park through interviewing Council for Cultural Affairs, Department of Urban Development Taipei City Government, enterprise organizations, NPO and community council organization that have been operated Huashan Park up to now. Finally, according to literature theory and our investigated results, we make a conclusion and give some suggestions for further references.
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Hsu, Ching-Yi, and 許靖宜. "Development Pattern of Cultural and Creative Commodity Responding to Local Culture." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/x7588a.
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碩士國立臺中科技大學
商業設計系碩士班
104
Culture is the accumulation of human life and the embodiment of lifestyle. Its patterns keep changing and show diverse appearance with time. It remains open and fluctuated under the interaction of time, geography, ethnicity, religion and other factors. Due to the changing characteristic of culture, development of cultural and creative commodities should conform to evolution of times as well as above mentioned human lifestyle. Local culture is "unique" and "diversified" even under the worldwide influence of globalization, since it has evolved with the genes of foreign culture during the process of culture integration. When the local culture elements are used in the development of cultural and creative commodities, those products will have the significance of cultural heritage, and explore the depth and the value of goods. Eventually, these kinds of products attract consumers who have the same cultural gene to procure with satisfaction and meet with their cultural recognition preference. In this study, a development pattern is proposed to map local culture into cultural and creative commodities design through systematic procedures and daily life experience. It filters and captures the cultural elements effectively in the corresponding mapping process and integrates into the design process. As a conclusion, the proposed development pattern of cultural and creative commodities is able to abstract specific cultural elements in a logical thinking manner and provide feasible design advice. Several design cases regarding cultural and creative commodity development are implemented and the feasibility of industrialization is also discussed.
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Ming-FengWang and 汪銘峯. "The Application of Cultural Realism and Virtualism on Cultural Creative Products." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/7j5x7y.
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博士國立成功大學
工業設計學系
104
With the development of globalization, science and technology have almost dominated human life. Besides rational science and technology, mankind needs emotional cultural uniqueness even more. The former is known to mankind in a straightforward way, while the latter is hidden with cultural features unknown to mankind. In the era of popularization of science and technology, humans have made breakthrough in hardware to improve life quality, which led to the flourishing development of the software industry, make the culture create the unprecedented opportunity for the advancement of technology. As culture has brought unlimited possibility and business opportunities, the countries propose the cultural and creative industry to strengthen the distinctive feature of their own, to distinguish the cultural differences of every country, and to avoid assimilation of powerful countries and neighbor countries, thereby revitalize the economy of that country. In countries affected by Austronesian culture, such as Taiwan and New Zealand, the rules by the Eastern and Western colonial powers caused impact of different cultural uniqueness, which led to cultural differences. It’s important to figure out the way to integrate exclusive cultures into diverse cultures in order to identify the cultural features of the country, promote the country’s culture to others and realize the goal of the cultural and creative industry. Therefore, the purpose of the study is to provide a culture-based creative product design method for designers. The old concepts of both Chinese and Western philosophies concerning deconstruction of construction of people, matters, time, places, objects and phenomena appear to be overly theoretical in terms of modern research. There are always some gaps between the concept and practice, which cannot solve the crucial problems that designers encounter when deconstructing and constructing the culture. As a result, designers use excessive personal experiences of making black box decisions, and cannot give clear and reasonable explanation, which will lead to more obscure and conflicting situations. Designers often encounter bottlenecks when conceiving a design and cannot design and develop more smoothly and efficiently, making it difficult to precisely grasp the cultural essence and incorporated it into products. The design model for the present study is based on national and international literature that analyzed symbolism, metaphysics, three layered culture, reverse-triangular cultural space, Zen aesthetics, etc., and honest feedback based on the actual feeling towards the culture. The difference of Laozi’s philosophy in this model, can contribute to the different cognition of the culture in various aspects in the time axis, and provide diverse views of the culture. Therefore, this study proposed the theory of “Cultural Realism and Virtualism” by introducing philosophical and mathematical methods and applying the concept of ‘virtualism’ and ‘realism’ to deconstruct and construct cultural elements and implement the design of cultural and creative products such as complex variable, fuzzy theory, structure variation and color evaluation. Finally, through the result of the design of case, Culture-based Creative Products developed from Austronesian language from New Zealand and Taiwan, fulfilled the purpose that the theory has been realized in practice, and the products successfully entered the markets, allowing Taiwanese to respect, understand, accept and appreciate the culture through product exhibition. Therefore, this study is proved to be able to make fundamental contributions to culture, business, education, society and country effectively.
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HSU, Chi-Hsien, and 徐啟賢. "Transformation Model for Cultural Creative Product Design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/08770173143914459153.
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博士國立臺灣藝術大學
創意產業設計研究所
102
Each country has its uniqueness of traditional culture and life style. As the promotion of cultural innovation industry becomes the core of national economic strategy, the global market is focusing on the design with local characteristics and the application of innovative design is being the competitive advantage of enterprises. Taiwanese prosperous cultural characteristics can be the potential application-value in design field as the source of innovative ideas and concept developments. However, current design theories, methods or models are not only hardly to fit the needs of the analysis of cultural comprehension and idiosyncrasy of cultural content but also leading to the research of theoretical model, framework of level attribution or new design model and strategy. We’ve seen the lack of overall design implement and application and the exploration of consumers’ comments and cognition. This approach undertaken in this study includes four phases. The first phase started with a synthesis of literature review, experts’ opinions, and appropriate principles from “cultural attributive analyses” and “transformational thinking in design” in order to establish the model of design. By the first phase, we implemented the design to develop the possibility of cultural characteristics applied to the product, which could be an indication of the effectiveness of this model. Moreover, we gave a questionnaire survey to 373 undergraduate and graduate students investigating consumers’ perception and preference and also took MDS analysis and SPSS Statistics to check the effectiveness of the implementation of this model and the influence factors of innovation design. Finally we checked the effectiveness of the promotion of this model in educational institutions. We gave recommendations, as reference for future design and marketing, in order to contribute to the cultural product design and clarify consumers’ cognition and demand.
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Wang, Hsiang-han, and 王湘涵. "A Study on Analyzing Cultural Creative Products." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/48545577958997242490.
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碩士世新大學
公共關係暨廣告學研究所(含碩專班)
95
This research is different from the previous studies in global and macroscopic comparison, analysis and categorization of the nature of different creative industries. The objective of this study is to investigate the characteristics of different cultural creative products in current industries. We analyzed each product and the creative features of different types of industries. The analysis consisted of product content, consumer and product medium. For products with high creativity, we also discussed how cultural medium established an intermediate channel between products and consumers in order to communicate and interact effectively. The methodology of this research was in-depth interview. In 13 core cultural creative industries, 7 representing industries of the highest efficiency ratio between input and output were used to investigate the definition of culture core industries producing high values. The case studies of the 7 industries were categorized to (1) mass production (film industry), (2) life show (music and performing arts industries), (3) mass communication (advertising industry), (4) traditional products (crafts industry), (5) digital content (digital entertainment industry), (6) creative service (design industry) and (7) monopoly (cultural facility for exhibiting and performing). We further conveyed the differences in categorization and analysis of the core characteristics of cultural creative products. Based on the results of the analysis, we realized that in addition to the influence of different types of industries and the forms of creativities, the characteristics of cultural creative products could be altered via the means of different intermediate approach, depending upon the uniqueness of cultural markets and exchange costs compared with traditional products. Therefore, this study eliminated the limitations of different types of industries. The “core values” of culture, arts and business defined two catalogs of cultural creative products. Moreover, the “industrial characteristics” of production and consumption could make further distinctions in order to provide conceptual categorization which could be the reference of cultural intermediate control. This study categorized the medium concept of the product characteristics into two roles: creative agents and creative managers. The former develops business with an emphasis of high creativity. Creativity is the root source of all executing procedures, and therefore the operation starts with forming creative concepts. The latter refers to people managing system creative industries that have already established managing systems. The medium is the manager itself. In reaching the creative goals and maintaining executing procedures, the cultural medium of different creative industries differs significantly. This study revealed that an efficient medium should be a focusing process which, depending on the nature of different product characteristics, expands the market of creative products efficiently.
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WU, CHIN-TAO, and 吳溍濤. "The Study on Creative Cultural Metal Works." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/08012454030119576496.
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碩士高苑科技大學
資訊科技應用研究所
104
Along with scientific and technological progress and the impact of historical culture, people witness that weapons exist in their history, and now there also exist weapons. The purpose of this study is to explore metal technology and historical stories as incorporated verification, in order to clarify the research topic, to establish research framework, for addressing metal technology , culture and creation, historical and cultural creation, web page collection, in the application of sound and light effects to the relevant literature to go on exploration. For example, from the historical stories –historical allusions of Liangshan heroes armed with weapons in All Men Are Brothers to the inherited cultural troupes—Song Jiang array of weapons and tactical deployment, so will be used the hand-made work, a cultural and creative metal work to produce a series of Song Jiang array of weapons, with additional reference to the Three Kingdoms and Journey to the West to produce metal hand-made work related to the stories. Due to the development of historical culture and allusions to weapons, people’s perceptions of weapons become weak, so through cultural and creative hand-made metal works to achieve the knowledge of historical allusions and weapons culture. This study is divided into three frameworks; cultural and creative metal, historical allusions, shape design, analysis aimed at the cultural and creative metal background, motive, purpose, scope and limitation of research and explanation about the research process and reference literature.Look for Song Jiang array, the Three Kingdoms, Journey to the West, three historical and cultural allusions for reference. Later carry on creative thinking, solid composition, metal shape, color, packaging, presentation of the results of sight and sound combination. For the introduction of the appearance and content presentation of the three series of works, fully show the historical and cultural heritage, development of cultural and creative metal hand-made works and the weapons held by fictional characters in the historical allusions, in addition to the production of metal crafts weapons site that allows visitors to learn this crafts metal weapons site and other sites is different, which features the use of hand-made works show to introduce the researcher’s concept of production and to explain the reference source of inspiration, hoping to make more cultural and creative metal weapons enthusiasts to know more about the sites and works and also trying to combine cultural and creative metal hand-made works with the instant sound and light effects generators to produce the sword rattling sound dramatic light effects. The work can produce applications; it is no longer the only way to show. By sight and sound it can convey visual and auditory authenticity, so that the works can come to life, just like into a time tunnel. Key words: historical allusions, weapons culture, metal craft, shape design, Song Jiang array, the Three Kingdoms, Journey to the West.
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chen, Tsai pin, and 蔡秉辰. "Establishing Standards for Creative and Cultural Areas." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/84760199607792921656.
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碩士中國科技大學
建築研究所
95
Establishing Standards for Creative and Cultural Areas Abstract Council for Cultural Affairs and Ministry of Economic Affairs jointly promote the development of cultural and creative industries with the purposes to prepare a friendly environment for cultural and creative industries and to continue policies of “Reuse the idle spaces” and “Rejuvenate and reactivate the industrial heritage” drawn up by Council for Cultural Affairs; thereafter, the plan of “Creative and Cultural Areas” is proposed. In recent years, domestic enthusiasm has grown in promoting creative and cultural areas. Nevertheless, the whole idea is still limited within the boundary of designated location and specific activities regarding the actual practice, the connection with outside resources and cooperation between government and local administration; and it neglects the needs from area itself and the surrounding environment. The purpose of this study is to explore relevant administrative mechanism in promoting creative and cultural areas, and proceed with questionnaire survey by Fuzzy Delphi Method and Fuzzy Analytical Network Process (FAHP) to interview experts from government, academia and industry. Finally, we conclude with the analysis in obtaining items which experts consider comparably important in the creative and cultural areas build-up; and we analyze and sort those items for providing references in future planning for creative and cultural areas. According to the results from two surveys of Delphi non-expert questionnaire, we selected 8 items and 22 factors for evaluation. The results of Fuzzy Analytical Network Process (FAHP) show that, in terms of the principles in creative and cultural areas establishment, government focuses on the policy factors and the industry focuses on the aspect of area development and business operation, while the academia’s focuses are in between. Keywords: creative and cultural areas, Fuzzy Delphi Method, Fuzzy Analytical Network Process (FAHP)
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Fong, Wen-Chun, and 馮文君. "Exhibition Model Designed for Cultural Creative Brands." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/fx2gef.
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博士國立臺北科技大學
設計學院設計博士班
106
Cultural creative brands in Taiwan have to deal with the challenges of a small local market and high distribution costs, so they mostly use internet as marketing strategies. In this study, an exhibition of cultural creative brands was designed and practical design methods that create value and enhance visibility were discussed. Given that high costs and low visibility are problems that small individual brands face during exhibitions, a combined exhibition of multiple brands that emphasized product complementarity, image cohesion, and co-creation values was designed. First, a content analysis was performed to examine studies on brand image value, and the “Cultural creative brand attributes positioning” construct was then developed as a tool for analyzing the image of exhibition brands and products. Next, field interviews with cross-domain experts on brand management and curatorial design were conducted, and grounded theory was then utilized in order to establish the “Tai-Chi diagram for brand curatorial design”. These two constructs were then used to develope “Exhibition design model for cultural creative brands”, and this model was then converted into “Curatorial design model for multi-brand exhibitions”. Based on the model for designing exhibitions of cultural creative brands, this study will gradually complete the curatorial design of the “Macro Maison – Just Love Lines” exhibition in accordance with the model (1) and publish a new brand familiarity in this exhibition. The main visual image of the exhibition is then transformed into a display of the store to identify and extend the image benefits of the exhibition. The new brand familiarity helping the gradual growth of the domestic market over years, based on the annual survey by the “Macro Maison” statistics from 2010 to 2017, is exactly the benefit of marketing, and it verifies the feasibility and effectiveness of this model. The practical case (2) of this research was applied to the curatorial design of “Together with Spirt” multiple-brand exhibitions. This exhibition design got winning award in the Good Design Award 2014 International Design Competition. The success of the exhibition design was recognition of this design model and should serve as a reference for future multi-vendor brand exhibition planning design. The “Cultural creative brand attributes positioning” construct can be applied to both individual-brand and multiple-brand exhibitions, since they both can use it to determine their core values of exhibitions and utilize the values into exhibition strategies. “Tai-Chi diagram for brand curatorial design” can then be converted in advance to bring out the cultural and creative characteristics of a brand, communicate the brand’s values, allow customers to identify with the brand, create a brand image, expand brand awareness, achieve the goals of brand and multiple-brand exhibitions, and contribute toward the field of brand marketing. At last, it also serves as a reference for the strategy exhibition designer or brand manager to put forward the proposal of the “Interactive elements of the cultural and creative brand curatorial practice” into the exhibitions.
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HU, FANG-YU, and 胡芳玉. "Graduate Institute of Cultural and Creative Design." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6vdfvv.
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碩士東方設計大學
文化創意設計研究所
107
Marriage is an important event in life， the bride becomes the spotlight at a public wedding. People recognizes the overall design as an important issue. The main purpose of a bride’s styling design and feature that have dignified look and good visual image. Even make-up， clothing， accessories， etc. have great important on the overall shape too. The research wants to use the creative element into a bride hairstyle with beauty artistic. According to all of the overall stylist said that the bridals hairstyle is the more complicated and difficult process in whole overall design project. Therefore， by through study a literature review data for learn the bride’s hairstyle and feature. Then， setting a series of hairstyle combing technique and artistic hairstyle theory， the creative way will provide hairdressing staff with a reference and excellent example. The creation study is working on bridal hairstyle it has depended on the Nautilus’s beauty shape with line into a better bride hairstyle. And the creation research is applied the concept of aesthetic golden proportion， having various a bridal hairstyle can the presented in different feeling by the hairdresser combing skill. The creation research uses the spiral scale of the golden ratio and the definition of the golden rectangle to analyze the beauty characteristics of Nautilus. The theme of creation study is based on a bride’s hairstyle design. The Nautilus beauty shape with line have the application to the bride’s hairstyle design are explored by the Evaluation Grid Method of Miryoku Engineering. The creation study use an in-depth interview to find out six basic principles with “Thematic” and “Attractive"、”Sculpture Appearance”、”Heart Inspiration”、"Fashion Style”、 ”Quality Function” and 13 specific glamour factors and 19 abstract glamour factors. It depends on these elements that designs five hairstyles in different situation and occasion. The five hairstyles of “Ya”、 “chan”、“Xian”、“Wu” and “Yan” is presented in the bridal wedding， wedding banquet and wedding photography event respectively. . Finally， the study has the application the Importance-Performance Analysis method to understand the consumer’s preference and satisfaction from the works of bridal’s hairstyle. It is expected that this creative design concept and practical model can be used as a reference for professional hairdressers， and it can also enhance the creativity and aesthetics of the hairdressing industry.
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Chen, Li-Lin, and 陳麗玲. "The Practice of Museum and Cultural and Creative Industry-Using NPM “Cultural & Creative Industry Workshop” as an Example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/cmg7zj.
Full textAbstract:
碩士國立臺北藝術大學
博物館研究所碩士班
101
Museum, derived from Western, is defined as the social organization of the culture and educational agency in early years in Taiwan. Namely take the responsibility of cultural value inheritance role. The government started to set up different kind of public museums with different missions, and have all undertaken the strong character in various stage of cultural construction since 80s. In February, 2010, the law of “The Cultural & Creative Industry Development” (hereafter refers to as law of CCID) was legislated, and become one of the major policies of the government at present stage. Museum own huge cultural knowledge, artistic resources as well as the charm of museum brand, is regarded as one of the origins of cultural contents for related industry. Today museum has developed into one section of the cultural & creative industry from the culture and education organization serving civil society. This article uses NPM “Cultural and Creative Industry Workshop” as an example. Under the elaboration of museum, knowledge economy, and development of cultural & creative industry, discusses the possible relations of the museum and the industry. The research discovered that museum own the collection of cultural property and the artistic property may utilize the resources penetrating education and promotion activities, will expand popular concern to the related industry. On the workshop platform, museum transmit the rich culture knowledge to the industry also benefit from the industry with commodity containing cultural content, maintain the brand value of the museum. “Cultural and Creative Industry Workshop” is to be a platform for the practice of Museum and Cultural & Creative Industry. This research also suggested other museums may investigate own resources, establish the brand, open image resources expanding the authorized application when face the cultural & creative industrial policy development, and display the influence of museum furthermore.
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CHAO, HUNG-CHIA, and 趙鴻嘉. "The Analyses of Operating Management on Cultural and Creative Park- The case of Tainan Cultural and Creative Industrial Park." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/yw5pa7.
Full textAbstract:
碩士南臺科技大學
高階主管企管碩士班
104
The cultural and creative industries (CCI) have becoming the key future industry in Taiwan. Thus the Taiwan government set up a special group to promote both the development of and CCI and the establishment of CCI park in recent years. The goal of the establishment is not only to make the industries moving forward by the successful experience of Hsinchu Science Park on the basis of the cluster effect, but also to help the development of the CCI which locate in the park. As a result, more companies would choose to establish in the area due to the benefit from bigger cluster effect and the advantage of competitiveness. Therefore, it would be the governmental duty to organize CCI policy under the need of CCI (by Li Fang, 2004). This study takes Tainan CCI Park as a example by analyzing the sales and marketing data as well as the satisfaction surveys to learn more about the status of park management. The results show that the more obvious self-positioning of the CCI shops, the higher reflection of contribution to the main products. As for the number of sales mainly come from the afternoon session. Sales from Friday to Sunday mainly in afternoon and evening hours, which may be highly related to the performances also held in the same hours. Without the performance and activities in the CCI park, the sales would be significantly influenced. However, the high satisfaction for visitors is because of the comfortable feeling due to the uncrowded park zone. In summary, it would be hard to operate of the park only by the products exhibition and sale organized activities. Therefore, how the public sector provides modest resources, and dealing with the breakeven point and the public welfare of CCI would be the next very important and urgent problems for both of them to overcome.
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Yang, Li-Chen, and 楊麗臻. "Compact Cultural Creative Exhibit Space Design and Research-Qingtian Sixteen Experimental Creation Example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/63438549468960696338.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
101
The development of culture creative industry is to combine creative art work with local culture and add the era background in order to get closer to people’s heart by displaying the creative art work in the unused space and old buildings.. This will make the products have more affinity and attraction with historical meaning. The reality of promotion for culture creative exhibition in Taiwan tends to be big scale and private management from the government. It is hard to provide a place for new generation of designers or future designers to exhibit and show their ability for this industry. Due to this reason, most of them can only work as a lowly employees or switch to other industry. Thus the purpose of this research is to explore the development of small size culture creative exhibition and provide a model for space design as a reference in this industry. There are 3 stages of this research: the 1st stage is to explore the concept and meaning of the society for development started from old buildings and unused space. Moreover, organize the basic condition of exhibition space structure in domestic and oversea countries. On top of that, collect the theory of aesthetic economy for debate. The 2nd stage is the research of field research based on successful cases for small size of culture creative exhibition in Taiwan in order to analyze the successful points. The 3rd stage is to utilize Qingtian Sixteen as an experiment for creation to provide to schools or other industries as s reference for small size exhibition base on unused old buildings. Lastly, to make more rewarding small size exhibition designs academically in terms of research and development and promote small and delicate display environment from the government is necessary. I hope in the near future there will be a lot of creative designs and aesthetics spirit can be found everywhere on the streets where we live.
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Chen, Chung-An, and 陳重安. "The creation of Red Hair Harbor Histroy on Cultural and Creative Product Design." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/17627513309153007194.
Full textAbstract:
碩士國立高雄師範大學
視覺設計學系
99
The aim of this paper is to create cultural creativity products which are inspired by the traditional stories in the “Red Hair Harbor”, thereby studying the design and development of the products, as well as cultural marketing, giving the traditional stories of fashion sense and a new sense of creativity. coupled with the upcoming opening of the Red Hair Harbor Cultural Park in Kaohsiung, this creation-based study can contribute ideas to the marketing and image management. With the creation of “the Red Hair people’s treasure hunt” as the theme of the story line, many legends were linked together under the “treasure hunt” concepts. by the combination of the early folklores and products through the role shaping in the story, cultural creativity products with the local features and contents were created. The creation forms can be divided into two parts: graphic design and three-dimensional design. Graphic design mainly includes computer-based vector graphics to facilitate future applications in a variety of products; in terms of the three-dimensional design, the graphics of the story characters shall be presented for their display and promotion upon completion. The creation is expected to be applied in the cultural industry. The ability of being a good story-teller is essential in the cultural creativity industry. This paper not only give a practice of the creation of narrative-based cultural product through the stories in the Red Hair Harbor, but also explore and discover the development potential behind the traditional culture in the region. Hopefully it can provide a new aspect to the international design and culture ecologies in Taiwan.
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Chang, Che-Jung, and 張哲榮. "Take Cultural Creative Industries to Discuss The Cultural Industries in Tam-sui." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/dj6acp.
Full textAbstract:
碩士國立臺北藝術大學
建築與文化資產研究所
100
ABSTRACT Tamsui has become one of the most important tourist towns in Taiwan due to the successful development and transformation of tourist attractions including Fisherman’s Wharf, Old Street and Historic Park in recent years. In addition, the growth of Cultural and Creative Industry has also gradually turned into the primary objective of life culture in the most of the countries since the 20th century. Actually, the Tamsui Historic Sites and Township Office have cooperated and devoted to the Old Street peripheral culture, the space and the multi-dimensional development of industry. They takes “The Creative City” as the main goal to implement the policies including the management of historical park, the introduction of artistic industry and plan of cultural creativity industry park and so on. However, the concept of Cultural and Creative Industry just starts and is immature in Taiwan, so it is essential to respect the recognition of the local community and to refer to the successful cases in the past during the process of the government investment. This research executes mainly from the views of cultural industry and community empowering with applying the creative city development theory to investigate and interview the official agency and community actor whose strive to promote the operation and improvement of local industry, and then takes the local culture industry of Tamsui Old Street as spindle to analyze the various sides of culture, creative and industry of town and provide the strategies for integration of community development on purpose of the demand of local culture industry, and finally further discusses suitable suggestions for the basis of sustainable management of the community culture industry.
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Chen-Mei-Tian and 陳美甜. "Analysis of Cluster Development for Cultural Industry - Taichung Creative and Cultural Park." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/52196311915909628179.
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LIN, PEI-CHEN, and 林佩臻. "A Study of Applying Sakizaya’s Cultural Elements into Cultural Creative Products Design." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/63534027479448405660.
Full textAbstract:
碩士國立臺灣藝術大學
工藝設計學系碩士班
101
Taiwan is a multicultural society, thus, the rooted local life experience is where the inspiration of creative design originates. After 1878 the event of Kaliawan, Sakiazya hidden in the Amis tribes. Today the occurrence was more than one hundred year；The name of Sakizaya Movement was finally successful in 2007. Sakizaya its own cultural has almost disappeared is now actively cultural revival movement, to reproduce their traditional ceremonies, dance and costumes. This study is based on searching for possibilities in applying the Sakiazya Cultural Elements into cultural creative product design. Through collecting Sakiazya documents, attending their tribal harvest festival and Palamal memorial ceremony, and interviewing Sakizaya chieftain, seniors, Sakizaya traditional clothing designer and her husband. Thoroughly explore Sakizaya cultures and traditional stories, then extracting their cultural elements into creative product designs. Through creative presentation, modern elements were integrated into the unique cultural with rich meanings and colors and transformed into products with commercial value. This study applies scholar Lin’s theories “the Cultural Product Design Mode”, then present seven design works. Through the questionnaires and statistical analysis, then summarize findings: Consumers have a very high degree of these works. Cultural creative products first must have a "design sense ", "functional", after strengthening "cultural elements". Age and learning background will affect the preference for the works. After MDS analysis for design products whose properties can be divided into three categories. The first set of properties belonging to humor and gorgeous, and the second set of attributes is cool, practical, stylish, sophisticated, rugged property belongs to the third group, the traditional, ornamental. And also found Sakizaya and general people’s evaluation of the design cases are very different.
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YANG, WEI-ZHONG, and 楊為中. "Devlopment Strategy of Cultural Creative Industries Under the Tujia Traditional Culture Sharing." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rt3h7y.
Full textAbstract:
碩士國立雲林科技大學
設計學研究所
105
The changes in the times and the rapid economic development, while raising people’s living standards, bring crisis and pressure to the traditional industrial structure and culture of minorities. The youths from minorities areas go to cities for life and work successively, which aggravates the aging trend of the heirs of minority traditional culture, together with the high-speed transmission of and influences from foreign culture, the minority traditional culture conversation is in a severe situation. In the contemporary era where the competition in countries’ comprehensive national strength is increasingly fiercer, cultural development also becomes an important force in international competition; China strengthens the development of the cultural creative industry, and this injects vitality into the cultural conservation work, and the importance of traditional culture is also the consensus of more and more people. Based on it, the research takes Changyang Tujia Autonomous County as the research object, aims to deeply discuss about the forms of traditional culture sharing and the influences on the recognition of cultural creative industry from the Tujia residents, also analyzes the applicable development strategies for the cultural creative industry under the Tujia traditional culture sharing, offers suggestions for Tujia culture conservation and innovation, provide more definite guidance for the sustainable development of Tujia areas, and makes Tujia culture mutually beneficial and co-exist with other culture, and be more competitive and viable.
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Lu, Mei-Feng, and 呂美鋒. "The Study of Cultural and Creative Curating in Taiwan: Using "2014 Hualien Cultural and Creative Industry Exposition" as An Example." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/d28vev.
Full textAbstract:
碩士大同大學
工業設計學系(所)
103
According to the trend of world development, most countries have stepped into the era of knowledge economy. Because of the advanced standard of education and spreading policies from government, the cultural and creative curating has become a fever in Taiwan. However there are lots of exhibitions stagnating in the early stages. The exhibitions being at a standhill can not express the idea from curator exactly. Therefore, how to make a appropriate display to the faith of curator is a big problem we have to discuss. To discuss the properties of cultural and creative curating, this study explored the stuation of the cultural and creative curating in Taiwan. In order to analyse the executing of cultural and creative curating, this study used “2014 Hualien Cultural and Creative Industry Exposition”as an example to figure out the key points of holding processes. Utimately combining the result from exploration of stuation and the points of processes, this study provided some principles for cultural and creative curating that can be used as references when one attempts to hold a exhibition of cultural and creative industry. The results of this study showed: Before the opening: 1. The curating idea of “More local, more international. ” 2. The design of exhibition: coming from the local culture. 3. The field research of exhibition spot. 4. To spread advertisement all over Taiwan. In the opening: 1. Hold regular activities of exhibition theme. 2. The excellent audio guide. After the opening: 1. Reuse the stands of exhibition. 2. The continued effect of exhibition: a monograph or another exhibition.
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Chang, Hui-chuan, and 張慧娟. "Branding Strategies for Museums’ Cultural and Creative Goods." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/79339885664940535097.
Full textAbstract:
碩士國立臺灣科技大學
設計研究所
101
The rich and varied collections of museums not only show the abundant cultural accumulation within, but also show the potential of museums on the cultural and creative industry; nowadays, museums are capable of serving as the locomotive in the knowledge economy. The objectives of museums have transformed from the early stage of relic collecting, studying, displaying and educating to customer-oriented places for cultural touring and consuming. Acknowledging that museum goods are important vehicles for marketing, museums are attempting to develop cultural and creative goods based on their own feature collections. Cultural and creative goods can connect museums and the public, thus, educational objectives of museums are achieved while brand images of museums are built accordingly. Three perspectives of museums’ cultural and creative goods were reviewed in this research: brand image, marketing strategy and future prospects. In-depth interviews with selected museums were conducted and marketing theories were used to analyze current marketing problems of museums’ cultural and creative goods. It was hoped that the results could provide overall strategies and references for domestic museums in marketing cultural and creative goods. The results and suggestions of this research were as follows. (1) The marketing strategy should comply with the objective of the museum, and the whole scheme should be executed by authoritative executives. (2) The marketing strategy should integrate the process of product development, marketing communication mix, and the cultivation of marketing personnel, thus, the breadth of brand marketing could be extended accordingly. (3) Museums should employ personnel in responsible of marketing to integrate marketing strategies, and to anchor the competitive position in the cultural and creative industry. (4) The government should promulgate provisions on museum stores to regulate systematically the usage of revenue and to obtain healthy management and substantial development of cultural and creative goods.
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Chen, Being-Chenem, and 陳兵誠. "A Pattern Study of Cultural Creative Product Industrialization." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/50081890374778049765.
Full textAbstract:
博士國立雲林科技大學
設計學研究所
103
Countries around the world are now enhancing their self-culture and integrating it with creativity through “design”. Among them, the promotions and practices of cultural creative product design are listed as the highlight of the nation’s economic development with an expectation to expand aesthetic economics featured with cultural characteristics. The industrialization of cultural creative products refers to the concept of creating the output value through the product production and development to facilitate the functioning of the industry. Nevertheless, for the development of cultural creative industry, many researches and literatures indicate that, whether it is Taiwan in the cultural creative industry or creativity for business operators, both of them now challenged by the product industrialization through years of deduction and under the promotion of policies. Besides, discussions of the operating pattern of creative industry as well as researches and evaluation standards related to the industrialization of cultural creative product design and development have shown no effectiveness despite of a great effort. During the industrialization of product design and development, the industry is truly in a predicament, which is caused by all kinds of factors. This research has therefore firstly conducted case interviews and participant observation researches, and then used the ancillary computer qualitative data analysis software NVivo10.0 to carry out grounded decoding on the interview content and literature in order to construct the “Flower Chain Graph Pattern for the Industrialization of Cultural Creative Product Design and Development” through deductions and inferences. Besides, two principal elements –“technology added-value” and “marketing added-value”–were selected from the pattern to carry out the second in-depth interview and investigations, and factors of the industrialization of cultural creative product design and development were summarized from these two elements. Finally, “Technology Value-Added Pattern of the Industrialization of Cultural Creative Product Design and Development” and “Marketing Value-Added Pattern of the Industrialization of Cultural Creative Product Design and Development” were established through deductions and inferences, and then used to summarize the “Life Cycle for the Industrialization of Cultural Creative Product Design and Development” to achieve the research target. During the grounded decoding process,computer qualitative data analysis software NVivo10.0 was used to conduct reliability check for the codes’ internal consistence. The results have shown a high reliability of this research’s essential grounded decoding factors, which can be used as a reference for researchers. The research indicates that: Regarding studies of values added in cultural creative product designs and industrialization development,(1) cultural creative products contain “apparent” and “hidden” design elements, which can be composed by “design applications of local culture” and “design elements of cultural products” through the decoding analysis. Besides, not only the product innovation can be enhanced through “innovative development and thinking”, but also the product added value can be increased through “applications of complex materials”; (2) the flower chain graph pattern for the industrialization of cultural creative product design and development are composed by five conceptual elements including the “story”, “arts”, “commercialization”, “mass production”, and “industrialization”. It also successfully promoted the industrialization of cultural creative product design and development. Regarding studies of the industrialization pattern of cultural creative product design and development, (1) mass production and development of cultural creative products: the combination of mechanical and craft productions has created the best way to industrialize cultural creative product designs and development, which helps to increase the product production and quality. Besides, the introduced new technology instrument also solves production issues; (2) production of cultural creative products: it can be managed by the introduced software and a production SOP was also established through the system. This also helps to increase the product stability and yield rate with some benefits to the quality control; (3) mass production and development of cultural creative products: the industry shall firstly “assure the product’s attribute and positioning” , and then decide the “production methods”. Besides, the products can also be largely produced through other methods; (4) the industrialization of cultural creative product design and development is oriented by the industry and creating a cultural creative industry is easier than industrializing cultural creativity; (5) joining exhibition is the principal marketing approach for the industry and the five-sense marketing strategy is also well-used to promote cultural creative products. Besides, it is possible to expand the marketing effect and to add values on the industry by creating stories of the products and adding strategic applications consumer environment and market access; (6) production alternations and adjustments, and applications of trademarks, patents and copyrights are used to control counterfeited cultural creative products and effectively prevent unscrupulous vendors to counterfeit or to infringe the rights of cultural creative products; (7) cultivation of talents and inheritance of experiences are the main purposes of having a sustainable operation of the industry. In the construction and verification of cultural creative products’ industrialization pattern, (1) the technology value added pattern for the industrialization of cultural creative product design and development clearly shows the industry’s production and mass production procedures cultural creative products and considerations; (2) the marketing value added pattern for the industrialization of cultural creative product design and development can set marketing strategies through industry’s observations on the market and consumptions, and reach the target of having a sustainable operation through competitions and strategic developments. Based on the conclusion, this research has made some recommendations: (1) the government shall have more contacts with the industry’s grassroots and listen to all the players in order to understand the industry demand. Besides, only “policy promotions and strategic rewards and subsidies” can assist the industry’s development effectively; (2) the government shall not only establish a “professional cultural and art platform”, offering the industry a channel for consultations and exchanges, but also assist the operators to difficulties and fulfill their demand actively; (3) the government shall distribute all policy resources in a balanced and fair way in order to created a balanced and good development of the industry; (4) regarding the industrialization of cultural creative product design and development, an ancillary production of machines can truly increase the production volume. Besides, mechanical production also shows the products’ characteristics in crafts. It is suggested that the operators shall solve issues caused by the manual production and try to replace manual production by mechanical production in order to stabilize the production volume and product quality; (5) patterns constructed in this research can only be used in domains of the cultural creative industry and creative industry. Before applying the patterns constructed by this research, please survey the industry’s characteristics and to make appropriate adjustments on our research results; (6) the “Flower Chain Graph Pattern for the Industrialization of Cultural Creative Product Design and Development” established by this research may be further studied with other three add value topics (culture, design and creativity value added patterns). It is also possible to collect examples of the industry to conduct practical researches based on this research’s results. Key Words: Cultural Creative Products, Cultural Creative Industry, Creative Life Industry, Industrialization, Design and Development.
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黃國記. "A Study of Cultural Creative Products of Cements." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/26022339221772482856.
Full textAbstract:
碩士逢甲大學
經營管理碩士在職專班
103
Making use of concrete to develop various kinds of products is very common after Industrial Revolution. It is highly common and safe building material, which is easy to shape. It also has the advantage of low-cost ingredients and production equipment. Therefore, at the time when low costs and environmental protection are highly valued, concrete has gradually replaced the natural building materials such as wood and stone. Japanese architecture master, Ando Tadao, Pritzker Architecture Prize winner, has demonstrated the best example by using fair-faced concrete in construction. The research mainly studies on how to organize and develop a set of marketing modes in cultural creative industry based on cultural creative marketing theories and interviews with people in this field. The purpose is to demonstrate the theory from Master KengoKuma that natural constructions are a good combination of places, building materials and sustainability of the Earth. By making hand-cement products cultural and creative, concrete has evolved from building materials to materials for decoration. It is eco-friendly and artistic. With this, we hope it can impact the production and sales of the traditional building material market, be deeply involved in the market channel system of ordinary consumers’ lives and further enhance construction builders’ or developers’ faith in hand-cement products. The results of the research show that if leisure and tourism developers can use hand-cement products as building materials to build thematic bed & breakfasts and create natural, cultural and creative atmosphere, consumers tend to accept them easily. Through the reflection on life, everything ranging from trees, grass, to stone can coexist meaningfully in the ecosystem. We believe that through promotions and studies on hand-cement products, we can give a new interpretation for the green architecture. People will no longer regard hand-cement products as cold and indifference; instead, they are warm and tender. The beauty it contains has become “a good will “to the world. How to build up the hand-cements products the irreplaceable worth at the most reasonable and economic prices is what the hand-cement industry can work hard for. Consumers’ taste can influence developers and product designers to produce building materials which not only have physical beauty, but also are eco-friendly. This should be the course of development of hand-cement products as cultural creative products.
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LIN, CHUN-LAN, and 林駿嵐. "Cultural and creative teaching and research related courses." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/02683182396283606445.
Full textAbstract:
碩士國立新竹教育大學
藝術教育與創作碩士班
102
Abstract Cultural and creative teaching and research related courses. This study aims to researchers between 2009 and 2013, I served as vocational training, vocational education and university education in all areas of teaching practice, discuss issues between the cultural and creative courses. Expectations through the cultural and creative teaching and research documents related courses to explore, as well as teaching practice before the match, after integration questionnaire analysis will explore these issues, go into the result as a reference for future cultural and creative teaching. The study is divided into five specific objectives: 1. Explore the subjects of "Business Management" attitude and learning in the cultural and creative courses. 2. Explore the subjects of "Advertising and Marketing" attitude and learning outcomes in the cultural and creative courses. 3. Explore the subjects of "Innovative Design" attitude and learning in the cultural and creative courses. 4. Explore the subjects of "Arts and Humanities" attitude and learning effectiveness in the cultural and creative courses. 5. Understanding of the cultural and creative study of harvest-related courses, as well as ideas and suggestions distress. In summary, this study will be the cultural and creative action research compiled in conjunction with the theory of teaching, research and curriculum design; questionnaire before and after the test, so that students and trainees in the way respondents from readme and quantitative and qualitative analysis. Results of the study are as follows: 1. Expectations and satisfaction integrate the study the cultural and creative four-part courses "Business Management", "Advertising and Marketing", "Innovative Design", "Arts and Humanities." 2. Students researched for teaching time, course structure, curriculum extension the rest of the course content and curriculum specific proposals. 3. Research specific recommendations for vocational training and university courses. 4. Research presented to the "individualized and systematic teaching", "increase the cultural field of inquiry" and "as a general education courses to try," three recommendations for future research.. Keywords: cultural and creative courses, cultural and creative industries, vocational training students, university students
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Wen, Che-Ting, and 温哲霆. "Discovering the Authenticity in Cultural and Creative Product." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/52646434542377566433.
Full textAbstract:
碩士國立臺灣科技大學
設計研究所
103
Under the impact of knowledge economy era and globalization, the cultural and creative industries have become one of the focuses of the government’s economic development policies. However, the social experts and scholars from different industries have held different opinions and expectations on cultural and creative industries in recent years, so they have diverse voices and dissent on the development and nature of cultural and creative industries, but also put forward many thought-provoking issues toward the development of cultural and creative industries. This study suggests that cultural and creative product designers play an important role in the development of cultural and creative industries and shall be liable to pay more thinking and discussion on the social issues relating to cultural and creative industries. Therefore, this study aims to understand the nature of cultural and creative product and what value it pursuits, to further explore the interaction between consumers and cultural and creative product, to analyze the factors influencing consumers’ conception of authenticity of cultural and creative product, and at last to overview the influence that cultural and creative product may bring to society and culture so as to discuss what is cultural and creative product designers’ social responsibility through exploring the issues of authenticity of cultural and creative product. This research is mainly divided into two phases, with the first phase being the pre-test phase and the second phase being in-depth interviews with consumers and experts. The pre-test phase first reviews and specifies the discussion scope and direction of the authenticity of cultural and creative product through literature, collects the articles relating to cultural and creative product through literature analysis, and then conducts coding to summarize the keywords of the core value of cultural and creative product through grounded theory. Next, the summarized keywords are used for two dimensional semantic differential scale testing and card sorting by peer review logic, with an attempt to verify that the conception of authenticity of cultural and creative product do differ in feeling among different individuals. And the second phase of the study is mainly aimed at in-depth interviews with consumers and experts relating to the field of cultural and creative product. This study collects consumers’ general perception as well as views on the conception of authenticity of cultural and creative product itself through in-depth interviews, codes and deconstructs the content of views by grounded theory, constructs the process of the conception of authenticity of cultural and creative product, and at last amends the study results by the advice and feedback of the in-depth interviews. It’s found from the study results that cultural and creative product designers have social influence because cultural and creative product can transfer cultural message and have the impact on consumers’ cultural issues, so designers should understand the meaning of cultural and creative product at every aspect for consumers while designing cultural and creative products. On the product level, designers should understand that the nature of cultural and creative product is still a product, and therefore the transfer of cultural message must be reached after consumers’ basic demand for products are met. For the transfer of culture message, designers should understand the interaction between cultural message transfer of cultural and creative product and consumers. Transfer of cultural messages can be divided into four stages, namely, sensual response, cultural identification, emotional response and cultural inspiration, each of which may have the impact on different levels of culture. However, cultural and creative product can only realize its value and have the opportunity to create the authenticity of cultural and creative product of their own when cultural message is indeed conveyed by various stages and used practically by consumers in their lives. On the whole, cultural and creative product plays the role of cultural preservation and regeneration through the transfer of culture message for society, and then expected by the public and industry, which also echoes the core values of cultural and creative development. Designers should profoundly realize their own influence to society and culture and try to actualize the in-depth connotation and philosophy of cultural and creative industries while designing cultural and creative product.