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Relevant bibliographies by topics / Electronic creativity

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Academic literature on the topic 'Electronic creativity'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Electronic creativity"

1

Imran, Naveed. "Electronic media, creativity and plagiarism." ACM SIGCAS Computers and Society 40, no. 4 (December 2010): 25–44. http://dx.doi.org/10.1145/1929609.1929613.

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SIAU, KENG L. "Electronic Creativity Techniques for Organizational Innovation." Journal of Creative Behavior 30, no. 4 (December 1996): 283–93. http://dx.doi.org/10.1002/j.2162-6057.1996.tb00774.x.

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Shaw, Duncan. "Creativity and learning through electronic group causal mapping." International Journal of Innovation and Learning 1, no. 4 (2004): 364. http://dx.doi.org/10.1504/ijil.2004.005497.

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Suprayitno, Suprayitno. "Creativity and Impact of Advertising Electronic Led Billboards in Jakarta." Humaniora 7, no. 2 (April 30, 2016): 167. http://dx.doi.org/10.21512/humaniora.v7i2.3513.

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The creativity and the impact of advertising electronic LED billboards in Jakarta was an approach to see, to know and to understand in a deeper way. Creativity decisions affect all advertising, art, and knowledge combined with the phrase creative strategy. Creative advertising ideas must be original, unique, different, new, unexpected and right on target. The approach used was qualitative research methods, including data collection in the form of literature review, interviews with the actors and the surrounding communities, as well as documenting the billboard directly outside the media was located. The results of this research are the analysis report the creativity and impact of LED electronic billboard advertising effectiveness, is expected to produce a more detailed picture. So that students and practitioners can use the visual communication design, process, and maximize the advertising rules in designing a design to reach the stage of design creativity and better application.

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Yagolkovskiy, Sergey R. "Stimulation of Individual Creativity in Electronic Brainstorming: Cognitive and Social Aspects." Social Behavior and Personality: an international journal 44, no. 5 (June 4, 2016): 761–66. http://dx.doi.org/10.2224/sbp.2016.44.5.761.

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I examined the extent to which idea exchange in an electronic brainstorming session stimulates individual creativity. The influence of idea exchange on particular parameters of creativity was assessed in an idea exposure paradigm. Characteristics of stimuli were manipulated by presenting common, rare, and absurd ideas to 144 high school undergraduate participants. I assessed fluency, flexibility, and originality parameters of creativity using the Russian version of the Alternate Uses test. The results revealed a significant effect of stimulus type on originality, and showed that rare stimulus ideas had a positive influence on originality.

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Hikmawan, T., N. Sutarni, and A. Hufad. "The role of electronic learning media in creativity learning." Journal of Physics: Conference Series 1375 (November 2019): 012030. http://dx.doi.org/10.1088/1742-6596/1375/1/012030.

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Dennis, Alan R., Randall K. Minas, and Akshay P. Bhagwatwar. "Sparking Creativity: Improving Electronic Brainstorming with Individual Cognitive Priming." Journal of Management Information Systems 29, no. 4 (April 2013): 195–216. http://dx.doi.org/10.2753/mis0742-1222290407.

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Schwarz, K. K. "Methodical creativity." Manufacturing Engineer 77, no. 1 (February 1, 1998): 17–20. http://dx.doi.org/10.1049/me:19980105.

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Dempsey, P. "The science of creativity." Engineering & Technology 4, no. 19 (November 7, 2009): 78–79. http://dx.doi.org/10.1049/et.2009.1919.

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Lau, Sing, and Ping Chung Cheung. "Creativity assessment: Comparability of the electronic and paper-and-pencil versions of the Wallach–Kogan Creativity Tests." Thinking Skills and Creativity 5, no. 3 (December 2010): 101–7. http://dx.doi.org/10.1016/j.tsc.2010.09.004.

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Dissertations / Theses on the topic "Electronic creativity"

1

Tonrey, Donna Ann. "Creativity and psychotherapy." View full text, 2001.

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Sisarica, Anja. "Creativity support in games for motivated learning." Thesis, City University London, 2015. http://openaccess.city.ac.uk/14543/.

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A natural extension of play for creative thinking can innovatively drive technology-led changes to the facilitation of creative problem solving, and generate a new genre in serious gaming. Whilst the use of serious games has grown considerably in recent years, support for players to think creatively is often implicit in the game, and does not exploit the wide range of creativity techniques and software tools available. The work reported in this thesis is the first to explicitly integrate creativity support into serious games. The results show that creative serious games can systematically support acquisition of creativity skills, generation of creative learning outcomes, and induction of motivational and learning benefits amongst the players. Therefore, this thesis introduces the concept of explicit creativity support in serious games, with a focus on games for motivated learning in adult professional setting, and reports formative and summative evaluations of new prototype games for this setting, in order to instantiate, refine and validate the concept. The creative learning objective of the prototype games was to train carers in creativity techniques to deliver more person-centred care to people with dementia. The findings are delivered in the form of a new framework, which proposes recommendations for the design and understanding of creative serious games. Four formative evaluations of three prototypes of creative serious games with carers provided results that led to refinements of the framework and the design of more usable and effective games. A subsequent summative evaluation partially validated the framework, delivering both a framework and prototype creative serious game that demonstrated the potential to improve person-centred dementia care training. The thesis provides a proof-of-concept of the value of creative serious games, and shows the potential for the framework to be applied and have impact on other application domains.

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Byrne, William Frederick. "Situated creativity-inspired problem-solving." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6956/.

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Creativity is a useful attribute for people to have. It allows them to solve unfamiliar problems, introduce novelty to established domains, and to understand and assimilate new information and situations - all things we would like computers to be able to do too. However, these creative attributes do not exist in isolation: they occur in a context in which people tend to solve problems routinely where possible rather than consider non-standard ideas. These more mundane attributes might also be useful for problem solving computers, for the same reasons they are useful for us. However, they are often ignored in attempts to implement systems capable of producing remarkable outputs. We explore how the study of both human and computational creativity can inform an approach to help computers to display useful, complete problem-solving behaviour similar to our own: that is, robust, exible and, where possible and appropriate, surprising. We describe a knowledge-based model that incorporates a genetic algorithm with some characteristics of our own approach to knowledge reuse. The model is driven by direct interactions with problem scenarios. Descriptions of the role or appearance of key themes and concepts in literature in functioning problem-solving systems is lacking; we suggest that they appear as artefacts of the operation of our model. We demonstrate that it is capable of solving routine problems flexibly and effectively. We also demonstrate that it can solve problems that would be effectively impossible for a genetic algorithm operating without the benefit of knowledge-driven biasing. Artefacts of the behaviour of the model could, in certain scenarios, lead to the appearance of non-routine or surprising solutions.

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Nouri, M. "Creativity-supporting environments : an emotion-based framework for influencing designers' creativity through using design environments." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16161/.

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Organisations need to develop their physical/psychological environments in order to build more creative, positive, activated and motivated spaces for people to work. Although previous research has investigated the effect of environment on creative performance, there has been little research into how it might support creative work that evolves through a sequence of divergent and convergent activities based on people’s emotions. This research proposes a theoretical framework with which to design the environments to support creative thinking that recognize and apply components that link creativity and emotions. Environment, emotion and creativity are the 3 main elements that form the structure of this framework. It is called the CSE (Creativity-Support-Environment) framework. The framework uses the link between emotion and creativity to create physical and digital environments that actively enhance and maintain different types of creative thinking in the design workspace. The framework addresses that gap in knowledge in the fields of environmental design and psychology, the effect of physical and digital work environment on creativity on the one hand, and the impact of emotions on creativity in the environment. On the other, the framework gives rise to guidelines for designing physical and digital spaces that facilitate creative thinking. To validate the CSE framework, empirical studies were undertaken in different environments, a set of design guidelines that can be applied in designing spaces with different stimuli (physical and digital), to foster divergent and convergent creative thinking. The CSE framework is important because it examines creativity from the perspective of emotion and applies the link of creativity and emotion in designing the environment to improve creative thoughts. In practice, the design guidelines can be adopted by designers of physical and digital environments to ensure those environments better support divergent and convergent design tasks. The results of this research have implications for the development of further design guidelines to form the construction of creative design environments in organizations with the aim of optimizing creative potential.

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de, Rooij A. "Hacking into the emotion-creativity link : two new approaches to interactive systems that influence the relationship between emotion and creativity." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15121/.

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Emotions can influence creative thinking. The ability of people to have the emotions that augment creativity can therefore help them to achieve higher creative task performance. How to design interactive systems that can effectively make use of this potential is, however, still an unanswered question. To explore possible answers to this question we have developed two novel approaches to interactive systems that can be used to effectively hack into the emotion-creativity link. One approach we developed enables a system to hack into the function of motor expressions in emotion regulation, in order to regulate the emotions that happen spontaneously during a creative task. We demonstrate that embodied interactions designed based on motor expressions, while used to interact with a system, can influence an intended emotion, and thereby influence the relationship between emotion and creativity. The second approach that we developed enables a system to hack into the cognitive appraisal processes that help cause emotion during a creative task. We demonstrate that believable computer generated feedback about the originality of a user’s own ideas, can be manipulated to help cause an intended emotion, determine its intensity, and thereby also influence the relationship between emotion and creativity. The contribution of this thesis is the development of two novel approaches to interactive systems that aim to influence the emotion-creativity link and in particular the explication of the mechanisms underlying these approaches. The studies form a novel contribution to both interactive systems research and the creativity sciences.

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Sutanonpaiboon, Janejira. "The effects of creativity software's characteristics on electronic brainstorming in different proximity settings /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1232407751&sid=9&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Deadrick, Anna V. "The case of Jack London : plagiarism, creativity, and authorship /." Electronic version (PDF), 2003. http://dl.uncw.edu/etd/2003/deadricka/annadeadrick.pdf.

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Maybury, Terrence, and n/a. "Internal+/-External Terrains: A Meditation On the Productive Skein of Electracy." Griffith University. School of Film, Media and Cultural Studies, 2002. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031009.112120.

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Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.

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Park-Gates, Shari Lane. "Effects of Group Interactive Brainstorming on Creativity." Diss., Virginia Tech, 2001. http://hdl.handle.net/10919/28577.

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Corporations spend a great deal of time and money trying to facilitate innovation in their employees. The act of introducing something new, a product or a service that is viable and innovative is often increased by enhancing or nurturing creativity.This experimental study investigated the effect of group verbally interactive brainstorming (social interaction) on creativity, not by comparing the number of ideas generated on a simple task in a brainstorming session, but by assessing creativity in the final product of a complex heuristic task. The purpose of this study was to compare the effect of group interactive brainstorming to individual brainstorming on individual creativity assessed in the final product.The hypothesis which was tested in this study was that participation in group verbally interactive brainstorming prior to developing a design solution would not facilitate creativity in the final product more than individual brainstorming. Indeed, it was hypothesized that individuals brainstorming in teams.Participants were 36 interior design students in a FIDER accredited program at Virginia Tech. The Multidimensional Stimulus Fluency Measure (MSFM) was administered before beginning the experiment in order to determine individual differences in creativity. Subjects were randomly assigned to either a treatment group than participated in group verbally interactive brainstorming prior to developing a product individually, or a control group that participated in an individual brainstorming session. All subjects then created a design project individually that was assessed for creativity by judges who were recruited from professional interior design organizations. Creativity was measures using the Consensual Assessment for Interior Design Creativity (Barnard, 1992). A post session questionnaire also was used to measure attitudes and perceptions of the subjects about the creative process.Analysis of variance revealed no significant differences when creativity scores were compared between two brainstorming groups. That is, projects developed by interior design students did not differ significantly in creativity systematically between the two brainstorming techniques. When scores on the two dependent variables of secondary interest (novelty and appropriateness) were compared between groups they also did not differ significantly.Responses to post-session questionnaires indicated that although students found it more difficult to generate ideas in a group, they still believed they would generate more ideas and preferred to generate ideas in a group rather than alone. However, when developing a project students preferred to work independently.This study supports past research which suggests that group verbally interactive brainstorming does not enhance creativity. In this study, interactive brainstorming neither enhanced nor constrained creativity in the final product. The creativity scores were higher for those in the individual brainstorming condition, although not significantly so. This study also supports findings which indicate that people still believe they will generate more ideas in a group and that they prefer to generate ideas as a group.
Ph. D.

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Santanen, Eric Lawrence. "Directed brainstorming and the Cognitive Network Model of Creativity: An empirical investigation of cognitive factors related to the formation of creative solutions using an electronic brainstorming environment." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279925.

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This dissertation presents the Cognitive Network Model of Creativity. This causal model posits that creative solutions occur when new associations are formed between disparate elements from memory. The likelihood of forming new associations is a positive function of the disparity between these elements and an inverse function of the problem solver's cognitive load. Cognitive load is, in turn, a positive function of the disparity between elements and the quantity of stimuli per unit of time to which the problem solver is exposed. Cognitive load is also an inverse function of the extent to which elements may be combined. The disparity between elements is a positive function of stimuli diversity, while the extent to which elements may be combined is an inverse function of stimuli diversity. Thus, the Cognitive Network Model of creativity represents a highly plausible answer to the research question: "What is a basic cognitive mechanism responsible for producing creative solutions to a problem?" that is grounded in group support systems, cognitive psychology, problem solving, and creativity research. Sixty one four-person groups participated in one of two experimental problem solving tasks designed to evaluate the model. The solution space for each task was partitioned into five smaller domains based upon known criteria for good solutions. Four directed brainstorming prompts were derived from each domain. These twenty prompts were then arranged to create three treatment conditions with respect to stimuli diversity (low, medium, and high). In each treatment, one directed brainstorming prompt was delivered to the electronic brainstorming supported groups every two minutes; groups in the control condition received no facilitation. Initial findings consistent with the model suggest that people using directed electronic brainstorming produce higher concentrations of creative solutions than people using free brainstorming because directed brainstorming focuses the efforts of the problem solvers on specific goals while simultaneously providing ready access to discontiguous areas of memory that help problem solvers avoid bounded, familiar, and narrow thought patterns. Findings show directed brainstorming advantages for low stimuli diversity, resulting in sharply focused creative solutions, and high stimuli diversity, resulting in broadly focused creative solutions. Medium diversity facilitation bestowed no benefit.

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Books on the topic "Electronic creativity"

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Clusters of Creativity. New York: John Wiley & Sons, Ltd., 2003.

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Writing in the electronic environment: Electronic text and the future of creativity and knowledge. Halifax, N.S: Dalhousie University, School of Library and Information Studies, 1996.

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The music producer's survival guide: Chaos, creativity, and career in independent and electronic music. Boston, MA: Cengage Learning PTR, 2014.

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American Institute of Architects. Computer-aided Task Force. Creativity and architecture: The impact of new electronic tools : June 9, 1993, Anaheim, California. Washington, DC (1735 New York Ave., NW, Washington 20006): American Institute of Architects, 1993.

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Making waves in the information and space age: Creativity and management in the electronic era. Portland, Or: Binford & Mort Pub., 1992.

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Metcalf, George F. Making waves in the information and space age: Creativity and management in the electronic era. New York: Vantage Press, 1997.

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Ahamed, Syed V. The art of scientific innovation: Cases of classic creativity. Upper Saddle River, N.J: Pearson Prentice Hall, 2005.

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Clusters of creativity: Enduring lessons on innovation and entrepreneurship from Silicon Valley and Europe's Silicon Fen. Chichester: Wiley, 2002.

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CHI Conference (1995 Denver, Colo.). Human factors in computing systems: CHI '95 Conference Proceedings : CHI '95 Mosaic of Creativity, Conference on Human Factors in Computing Systems, Denver, Colorado, May 7-11, 1995. New York: Association for Computing Machinery, 1995.

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CHI '95 Conference (1995 Denver, Colo.). Human factors in computing systems: CHI '95 Conference companion, CHI '95 Mosaic of Creativity, Conference on Human Factors in Computing Systems, Denver, Colorado, May 7-11, 1995. New York: Association for Computing Machinery, 1995.

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Book chapters on the topic "Electronic creativity"

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Goodstein, Zachary. "Electronic Cigarettes." In Ethical Ripples of Creativity and Innovation, 111–18. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137505545_13.

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Mabe, Michael. "Quality in the Electronic Era." In Growth, Creativity, and Collaboration: Great Visions on a Great Lake, 165–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781315864464-18.

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López Rúa, Paula. "Keeping up with the times: Lexical creativity in electronic communication." In Studies in Functional and Structural Linguistics, 137–59. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/sfsl.58.18lop.

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Beebe, Linda. "Licensing Electronic Products at the American Psychological Association." In Growth, Creativity, and Collaboration: Great Visions on a Great Lake, 175–84. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781315864464-19.

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Jewell, Timothy D., and Anne Mitchell. "Electronic Resource Management: The Quest for Systems and Standards." In Growth, Creativity, and Collaboration: Great Visions on a Great Lake, 137–63. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781315864464-17.

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Antelman, Kristin, and Susan Davis. "Implementing a Serial Work in an Electronic Resources Management System." In Growth, Creativity, and Collaboration: Great Visions on a Great Lake, 285–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781315864464-34.

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Seitter, Keith L. "The Print/Electronic Tightrope: A Case Study in Publication Finances for a Medium-Sized Nonprofit Society." In Growth, Creativity, and Collaboration: Great Visions on a Great Lake, 123–33. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781315864464-15.

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Mockford, Clive D. "A Teaching Strategy to Promote Student Confidence and Creativity in the Design and Prototyping of Digital Electronic Systems." In Technology Education, Innovation, and Management, 147–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79875-7_17.

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Dennis, Alan R., and Mike L. Williams. "Electronic Brainstorming." In Group Creativity, 160–78. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195147308.003.0008.

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"Creativity as discourse/creativity as experience in electronic dance music and electronica." In Sonic Technologies. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781501310652.0009.

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Conference papers on the topic "Electronic creativity"

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Al-Shahrani, Malawi Abdullah. "Creativity Culture and its Relationship with Electronic Education." In 2013 Fourth International Conference on e-Learning "Best Practices in Management, Design and Development of e-Courses: Standards of Excellence and Creativity". IEEE, 2013. http://dx.doi.org/10.1109/econf.2013.76.

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Dennis, Alan R., Randall K. Minas, and Akshay Bhagwatwar. "Sparking Creativity: Improving Electronic Brainstorming with Individual Cognitive Priming." In 2012 45th Hawaii International Conference on System Sciences (HICSS). IEEE, 2012. http://dx.doi.org/10.1109/hicss.2012.541.

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Choi, Suk Kyoung, and Steve DiPaola. "How a Painter Paints: An Interdisciplinary Understanding of Embodied Creativity." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.28.

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DiPaola, Steve, and Graeme McCaig. "Using Artificial Intelligence Techniques to Emulate the Creativity of a Portrait Painter." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.32.

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Candy, Linda. "Creativity and Evaluation: and Research in the Supporting Practice Interactive Arts." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.30.

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Sulaj, Manjola, and Olieta Polo. "SEVERAL THEMES AND MOTIVES IN THE POETIC CREATIVITY OF GIUSEPPE SCHIRÒ DI MAGGIO." In The 5th Electronic International Interdisciplinary Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/eiic.2016.5.1.553.

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Salevati, Sara, and Steve DiPaola. "A Creative Artificial Intelligence System to Investigate User Experience, Affect, Emotion and Creativity." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.13.

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DiPaola, Steve. "Future trends: Adding Computational Intelligence, Knowledge and Creativity to Interactive Exhibits and Visualisation Systems." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.4.

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López-González, Mónica. "Cognitive psychology meets art: exploring creativity, language, and emotion through live musical improvisation in film and theatre." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Huib de Ridder. SPIE, 2015. http://dx.doi.org/10.1117/12.2083880.

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Khawari, Hanifa, Mohd Isa Hamzah, Mohd Hanafi Mohd Yasin, and Hamsi Mansur. "Electronic Information Resources Usage of Afghan International University Students in Malaysia." In Proceedings of the 1st International Conference on Creativity, Innovation and Technology in Education (IC-CITE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccite-18.2018.20.

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Reports on the topic "Electronic creativity"

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Freeman, Charles, Sara Marcketti, and Elena Karpova. Evaluating Student Creativity: A Modified Electronic Consensual Assessment Tool for Classroom Use. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-892.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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