Artykuły w czasopismach: „Creative”

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Mo, Aaron. "Creatives, creative production and the creative market". International Journal of Sustainable Development 12, nr 2/3/4 (2009): 134. http://dx.doi.org/10.1504/ijsd.2009.032774.

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Hagstrom, Fran. "Creating Creative Identity". Inquiry: Critical Thinking Across the Disciplines 24, nr 4 (2005): 19–28. http://dx.doi.org/10.5840/inquiryctnews20052442.

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Kremer, Joe. "Creating creative assignments". Physics Teacher 50, nr 4 (kwiecień 2012): 198. http://dx.doi.org/10.1119/1.3694060.

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Sugarman, Susan. "Creating the Creative". Contemporary Psychology: A Journal of Reviews 39, nr 10 (październik 1994): 943–44. http://dx.doi.org/10.1037/034155.

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Woolfson, T. "Creating creative careers". BMJ 293, nr 6549 (20.09.1986): 747–48. http://dx.doi.org/10.1136/bmj.293.6549.747.

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Carvalho, Rui, Carlos Costa i Ana Ferreira. "Creative Tourism Consumption: Framing the Creative Habitus through a Bourdieusian Lens". Sustainability 15, nr 3 (26.01.2023): 2281. http://dx.doi.org/10.3390/su15032281.

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Creative tourism studies remain a newly developed field, pointing to changes in the consumption of tourism and culture while influencing how creativity and co-creation differentiate tourism supply through exploring the existential dimensions of creative experiences, the latter remaining an under-researched theme in the creative tourism literature. In addition, this type of tourism is presented as more responsible and sustainable than other types of massified forms of tourism. Building on a Bourdieusian approach, an updated version of Bourdieu’s main sociological thinking tools was used to analyse the creative habitus of both the supply and demand involved in the co-creation of creative tourism experiences. The authors developed 42 semi-structured interviews with creatives and creative tourists using the Loulé Criativo network in Portugal as a case study and applied qualitative techniques for the data treatment. The results showed that the creative habitus could move successfully between fields, expressing a sustainable agency towards creative tourism consumption. Autodidactism is important for skill development and knowledge replication resulting from the co-creation of creative experiences. The creative habitus, endowed with intercultural and creative capital, is characterized by self-education and ecological awareness where co-creation and coexistence with other creative people enhance the development and replication of creative competencies outside the tourism field.

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Guzmán Urrego, Luna, i Astrid Ramírez Valencia Ramírez Valencia. "Creative writing: Creating self-confidence". Revista Boletín Redipe 10, nr 13 (7.04.2022): 112–19. http://dx.doi.org/10.36260/rbr.v10i13.1732.

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Developing teenage students’ self-confidence could be difficult. Their age, likes, beliefs, attitudes, and perceptions are constant obstacles to learning a new language, even more, if they do not feel comfortable in their classroom. This article reflects on the implementation of creative writing and how other aspects as critical thinking, development of language skills, motivation, among others, can be improved while focusing on writing in a “funny way” based on the information gathered through different researches and personal teaching experience.

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Guzmán Urrego, Luna, i Astrid Ramírez Valencia. "Creative writing: creating self-confidence." Revista Boletín Redipe 11, nr 1 (13.01.2022): 344–51. http://dx.doi.org/10.36260/rbr.v11i1.1646.

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El desarrollo de la autoconfianza en estudiantes adolescentes puede resultar difícil. Su edad, gustos, creencias, actitudes y percepciones son obstáculos constantes para aprender un nuevo idioma, más aún, si no se sienten cómodos en su salón de clases. Este artículo reflexiona sobre la implementación de la escritura creativa y cómo se pueden mejorar otros aspectos como el pensamiento crítico, el desarrollo de las habilidades lingüísticas, la motivación, entre otros, mientras se enfoca en escribir de manera “divertida” tomando como base información recopilada a través de diferentes investigaciones y la experiencia personal en el ámbito de la enseñanza.

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Ennis, Gretchen. "Creative Forms for Creating Community". International Journal of Community Diversity 13, nr 1 (2014): 13–26. http://dx.doi.org/10.18848/2327-0004/cgp/v13i01/39939.

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SAKAMOTO, Haruo. "Creative Trials for Creation Education". Proceedings of the JSME annual meeting 2002.1 (2002): 419–20. http://dx.doi.org/10.1299/jsmemecjo.2002.1.0_419.

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Shanklin, William L. "Creatively managing for creative destruction". Business Horizons 43, nr 6 (listopad 2000): 29–35. http://dx.doi.org/10.1016/s0007-6813(00)80019-1.

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FINDLAY, C. "Thinking creatively about creative thinking". Journal of Social and Biological Systems 11, nr 1 (styczeń 1988): 165–75. http://dx.doi.org/10.1016/0140-1750(88)90059-0.

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Zanoni, Patrizia, Annelies Thoelen i Sierk Ybema. "Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work". Organization 24, nr 3 (maj 2017): 330–54. http://dx.doi.org/10.1177/1350508417690396.

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Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

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Finkel, Rebecca, Deborah Jones, Katherine Sang i Dimitrinka Stoyanova Russell. "Diversifying the creative: Creative work, creative industries, creative identities". Organization 24, nr 3 (maj 2017): 281–88. http://dx.doi.org/10.1177/1350508417690167.

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Khurosani, Aan. "Membangun Budaya Mencipta dan Kreativitas Kerja Karyawan pada Industri Kreatif di Provinsi Banten". Performance 27, nr 2 (30.09.2020): 49. http://dx.doi.org/10.20884/1.jp.2020.27.2.3206.

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Creative industry is a very potential sector in the development of small and medium industries in Indonesia. Creative industries are industries that focus on creating goods and services by relying on expertise, talent and creativity as intellectual property. The purpose of this study was to analyze the influence of creating culture, freedom of creation behavior and willingness to open a network of employee work creativity in the creative industries in Banten Province. The sampling technique uses purposive sampling technique with a sample of 95 respondents. Data analysis using Structural Equation Modeling analysis with PLS 3.0 program. The results showed that there was no influence of creating culture on employee work creativity. There is a positive and significant influence of creating culture on freedom of creative behavior, there is a positive and significant influence on freedom of creation behavior on employee work c[i]reativity, there is a positive and significant influence on creating freedom of behavior on the willingness to open networks and there is a positive influence on willingness to open networks on employee work creativity.

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DELL'ERA, CLAUDIO, PAOLO LANDONI i ROBERTO VERGANTI. "FROM CREATIVE INDIVIDUALS TO CREATIVE CAPITAL: VALUE CREATION AND APPROPRIATION STRATEGIES OF CREATIVE KNOWLEDGE-INTENSIVE BUSINESS SERVICES". International Journal of Innovation Management 19, nr 02 (kwiecień 2015): 1550016. http://dx.doi.org/10.1142/s1363919615500164.

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In the increasingly knowledge-based economy, the role of the service sector, and in particular, of Knowledge Intensive Business Services (KIBS), is widely acknowledged. KIBS are considered 'bridges of innovation'. Furthermore, in addition to this pivotal role in supporting the competitiveness and development of other firms, KIBS sectors are, per se, increasingly relevant in terms of economic dimensions and employment. Creative KIBS span architecture, advertising, multimedia and internet applications, branding, design agencies, etc and leverage creative processes and creative individuals. The importance of these firms is directly related to the increasingly acknowledged role of creativity and innovation for competitiveness. In fact, while some KIBS have grown to significant sizes in the creative sector (e.g., IDEO and Continuum Innovation), normally, these firms fail to grow and consist of only the founding professionals and a limited number of close collaborators. As argued by Florida and Goodnight (2005), the company's most important asset is its creative capital and this is not just a collection of individuals' ideas, but a product of interaction. This paper relies on a sample of eight Italian creative KIBS to analyse the value creation and appropriation strategies adopted by companies that were able to transform their creative capabilities from an individual asset to a company one (creative capital). On the basis of a theoretical framework that is derived from the literature and based on three pillars (Unique Assets Development, Unique Assets, and Unique Assets Value Appropriation), we identify several peculiar assets and strategies that are adopted by creative KIBS. Furthermore, we highlight the importance of Unique Asset Embodiment strategies, i.e., the importance of strategies for formalizing and codifying the unique assets in specific technologies, archives, processes, and even products. We show that these strategies allow (i) to extract more value from the already adopted value appropriation strategies and (ii) to adopt specific strategies of value appropriation.

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Shofi Elmia, Arini. "Supporting Tourism Development Through Creative Economy Clusters in Lebak District". Jurnal Kepariwisataan: Destinasi, Hospitalitas dan Perjalanan 7, nr 2 (31.12.2023): 256–70. http://dx.doi.org/10.34013/jk.v7i2.1276.

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The presence of materials and human resources in the Lebak Regency supports the creation of creative products in this district. However, this potential has not been maximized due to the undeveloped industrial system to support the development of the creative economy. Various causes of the underdeveloped potential and resources of tourism and the creative economy in Lebak Regency are due to the undeveloped industrial structure that supports the development of the creative economy, the unavailability of financing schemes for the creative economy industry players, limited access to marketing for the creative economy and not yet optimal institutional support for the creative economy as well as the large area of Lebak Regency. Creating strategic development is crucial for the future. One form of regional development is through the development of economic clusters. Creative economic cluster is necessary to formulate a development concept and strategy for Lebak Tourism Development. This study uses a SWOT analysis to help formulate a plan or strategy for an organization or a particular practice in a systematic way. The data used in this study are primary data through interviews, questionnaires, field observations, and documentation. Secondary data were obtained through literature studies, government policy documents, government agencies reports, and other media, also both mass media and the Internet. The result formulated 4 strategies for creative economic cluster development, namely (1) Creating creative economy clusters, divided into the north, middle, and south clusters; (2) Creating a tourism village in each cluster based on its creative economy potential; (3) Creating an institutional scheme for developing the creative economy; and (4) Creating project bundling in each cluster.

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Zheng, Da. "Creative Re-creation in Cultural Migration". Metacritic Journal for Comparative Studies and Theory 3, nr 1 (15.07.2017): 26–43. http://dx.doi.org/10.24193/mjcst.2017.3.02.

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Seitamaa-Hakkarainen, Pirita. "Creative expansion of knowledge-creating learning". Journal of the Learning Sciences 31, nr 1 (1.01.2022): 138–49. http://dx.doi.org/10.1080/10508406.2022.2029105.

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Tumeinski, Marc. "Genesis outdoors: Getting creative about creation". Teaching Theology & Religion 21, nr 1 (styczeń 2018): 58. http://dx.doi.org/10.1111/teth.12421.

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Daubresse, Eric, Gérard Assayag i Joshua Fineberg. "Technology and creation — The creative evolution". Contemporary Music Review 19, nr 2 (styczeń 2000): 61–80. http://dx.doi.org/10.1080/07494460000640261.

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Lin, Ruilin. "Creative Thinking for Picture Book Creation". IERI Procedia 2 (2012): 30–35. http://dx.doi.org/10.1016/j.ieri.2012.06.047.

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Nelli, Destri, Suci Hayati, Aeron Frimals, Sabila Eka Septi i Fhadira Insani Putri. "Property Utilization in Creating Creative Dance". Jurnal Pedagogi dan Pembelajaran 6, nr 2 (7.08.2023): 290–98. http://dx.doi.org/10.23887/jp2.v6i2.60452.

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Dance properties play an important role in helping dancers to move freely. The nature of dance needs to be developed and known by students in learning because it is very important as in learning the art of dance. The purpose of this study was to compare the utilization of tariff property with two indicators, namely messaging support and add artistic value at the elementary school level. This research method uses quantitative research with a sampling technique that is total sampling with a population of 68 students in four elementary schools. Types of Instruments in this study using a type of questionnaire instrument. Data analysis techniques used in this study are descriptive statistical tests and inferential tests in the form of assumptions and hypothesis tests. Based on the results of the study it can be seen that there are significant differences and comparisons in the utilization of tariff properties on the messaging support and add artistic value indicators in the four schools at the elementary school level. lack of dance properties in the school. So it is necessary to equalize property in various schools to increase the beauty of the dance performed by students. The implication of this research is knowing the importance of utilizing dance properties will have an impact on adding aesthetic value to dance students at the elementary school level.

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Kırmızı, Fatma Susar. "The effect of creative reading and creative writing activities on creative reading achievement". New Trends and Issues Proceedings on Humanities and Social Sciences 4, nr 1 (26.08.2017): 406–12. http://dx.doi.org/10.18844/prosoc.v4i1.2283.

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Katmo, Els Tieneke Rieke, Agus Sumule, Ardha Puspitasari, Diana Irbayanti, Indra Irianti i Maria I. Arim. "Situasi, Kendala Dan Strategi Pengembangan Ekonomi Kreatif Kuliner Di Kabupaten Fakfak Provinsi Papua Barat". JFRES: Journal of Fiscal and Regional Economy Studies 3, nr 1 (30.03.2020): 34–49. http://dx.doi.org/10.36883/jfres.v3i1.36.

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Culinary is a potential creative economic sector in Fakfak in enhancing slow economic growth. In comparison to other creative economic sector, creative economic mapping in Fakfak indicated that culinary has highest scores. SWOT analysis that was applied to assess criterias of indicators from three dimentions which are sectors, process and actors indicated that human resources is the main strength but also weaknesses in culinary as well as raw material as resources that naturally provided. National Government policy regarding creative economic is strength in develops creatice economic in Fakfak. Yet, sustainability of culinary as potential creative economic sector depends on sustainability of natural resources and agriculture product. Threfore, increasing production process while improving the use of technology and infrastructure in creation is needed. This followed by market expansion.

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Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation". Review of Artistic Education 17, nr 1 (1.03.2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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

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Sari, Dyan Indah Purnama, i Poppy Indriyanti. "IMPLEMENTASI MODEL CREATIVE DANCE PADA PEMBELAJARAN SENI TARI MAHASISWA PGSD UNIVERSITAS SARJANAWIYATA TAMANSISWA". Taman Cendekia: Jurnal Pendidikan Ke-SD-an 3, nr 2 (6.12.2019): 357. http://dx.doi.org/10.30738/tc.v3i2.5582.

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This article studied the creative dance model implementation in dance teaching for PGSD students, this article is formulated so that (1) PGSD Universitas Sarjanawiyata Tamansiswa students know how to create children dance, (2) PGSD Universitas Sarjanawiyata Tamansiswa students can create children dance by using creative dance model, (3) in the creation process, PGSD Universitas Sarjanawiyata Tamansiswa students can develop their creative idea, (4) PGSD students become active, creative, and innovative students in the process of creating children dances. Additionally, this article also aims at analyzing the role of creative dance model in the creation of children dance in Dancing Art teaching. The creative dance model is often referred to as creation model. The approach used in this research is qualitative research which applied a descriptive analysis method aimed at describing, summarizing various conditions, various situations, or various social reality phenomena in the community. The data collection was conducted by means of observation, interview, and documentation. The product of this research would be a teaching model that can be used as a guide or manual in the process of construction and exploration of children dance to be used by PGSD students, especially PGSD Universitas Sarjanawiyata Tamansiswa students.

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Daniel, Jamie Levine, i Mirae Kim. "Creative Placemaking: Creating Change by Building Partnerships". Journal of Public and Nonprofit Affairs 6, nr 1 (1.04.2020): 96. http://dx.doi.org/10.20899/jpna.6.1.96-110.

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Arts, artists, and creative strategies can be critical vehicles for achieving social, economic, and community goals. Creative placemaking is one type of arts-led planning that incorporates the goals of communities with stakeholder participation. Questions exist, however, around who participates in the creative placemaking process and to what end. This study explores a case where a state-sponsored workshop brought together people from diverse backgrounds to facilitate community development and engagement through creative placemaking. The study highlights how a one-shot intervention can reshape perceptions of creative placemaking that are held by planners, nonplanners, artists, and nonartists. The study shows that while pre-workshop participants focused on identifying resource-based challenges, post-workshop participants focused more on initiating collaborations and being responsive to community needs. The different attitudes before and after the state-sponsored workshop demonstrate the importance of not only building stakeholder understanding but also facilitating stakeholder engagement for successful creative placemaking.

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Harris, Anne, Susan Davis, Kim Snepvangers i Leon de Bruin. "Creative Formats, Creative Futures". Departures in Critical Qualitative Research 6, nr 2 (2017): 48–61. http://dx.doi.org/10.1525/dcqr.2017.6.2.48.

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As creative economies and industries continue to impact emerging markets and cultural conversations, creative education seems no more central to these conversations than it was a decade ago. Two recent Creativity Summits marked a collaborative milestone in the global conversation about creative teaching, learning, ecologies, and partnerships, signaling a turn from nation-based approaches to more globally-networked ones. This essay and the summits offer not only an international and interdisciplinary survey of the “state of play” in creativity education, but also collaboratively-generated strategies for strengthening creative research in tertiary education contexts, teacher education, cross-sectoral partnerships, and policy directions internationally.

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John‐Steiner, Vera. "Creative lives, creative tensions". Creativity Research Journal 5, nr 1 (styczeń 1992): 99–108. http://dx.doi.org/10.1080/10400419209534426.

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Burnage, Steve. "Creative learning, creative teaching". SecEd 2018, nr 12 (26.04.2018): 10. http://dx.doi.org/10.12968/sece.2018.12.10.

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Lee, Chang Bin. "Creative economies, creative cities". International Journal of Cultural Policy 17, nr 3 (czerwiec 2011): 356–57. http://dx.doi.org/10.1080/10286632.2010.531718.

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Nix, Zebbie. "Creative Eating, Creative Cheating". Journal of Renal Nutrition 3, nr 2 (kwiecień 1993): 100–102. http://dx.doi.org/10.1016/s1051-2276(12)80248-2.

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HERMAN, Andriy. "INNOVATIVE ENTREPRENEURSHIP AND STARTUP IN THE CREATIVE ECONOMY". Herald of Khmelnytskyi National University. Economic sciences 310, nr 5(1) (29.09.2022): 165–69. http://dx.doi.org/10.31891/2307-5740-2022-310-5(1)-27.

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The paper examines the theoretical aspects of innovative entrepreneurship and startup in the creative economy. An important task of any economy is to ensure rapid economic growth, which is not possible without the use of entrepreneurial innovations. Various aspects of the concept of “entrepreneurship” were considered, namely global, economic, intellectual and professional. The content of the concepts “creative entrepreneurship” and “creative economy” was analyzed. The specific origin of the creative economy is considered. Three types of creative entrepreneurship are distinguished: cultural, social and hybrid. The types of creative innovations are briefly characterized: creation of new products, improvement of previously existing ones, bringing the existing one to a new level, use of new resources, creation of a new structure. It was established that the concept of “startup” is located next to the concepts of “entrepreneurship” and “innovation”. Peculiarities of a startup in the creative economy have been studied. Currently, it is known that the process of creating and developing conditions for developing and offering new products to the market begins at the startup stage. A startup is a newly created organization that uses different types of innovation. Almost all actions of a startup can be considered as experiments that test the chosen strategies. Various forms of organization of creative and entrepreneurial space in the creative economy have common characteristics.

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Collard, Paul, Szilvia Németh, Daniel Vince i Anita Kaderjak. "Creating Creative Learning Environments by Creative Partnerships Programme—Evaluation of the Creative Partnerships Pilot Mathematics Programme in Pécs". Creative Education 07, nr 05 (2016): 741–67. http://dx.doi.org/10.4236/ce.2016.75078.

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Ilchuk, Valerii, i Iryna Sadchykova. "ТЕОРЕТИЧНІ ЗАСАДИ ФОРМУВАННЯ КРЕАТИВНИХ ІНДУСТРІЙ У РОЗВИТКУ РЕАЛЬНОГО СЕКТОРУ НАЦІОНАЛЬНОЇ ЕКОНОМІКИ". PROBLEMS AND PROSPECTS OF ECONOMIC AND MANAGEMENT, nr 1(21) (2020): 9–19. http://dx.doi.org/10.25140/2411-5215-2020-1(21)-9-19.

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The article thoroughly investigates the essence of creative industries from their inception to their formation and development. It was also determined that the creative industries in the real sector of the economy are emerging in innovation and in many cases aimed at creating new ideas and intellectual property in scientific-innovation, technical, technological, organizational and economic spheres, which provide the material basis for the life of society and every human being . The scheme of use of creative industries in the real sector of national economy is presented. The types of creative industries in the directions of creation of spiritual and material goods are highlighted, as well as the influence of creative industries on the development of the real sector of the national economy

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Hill, Crag, i Jason Poudrier. "Teaching Creative Writing: Veterans, Students, and Creative Writing: Creating Cultural Cohesion in the Classroom". English Journal 109, nr 1 (1.09.2019): 117–19. http://dx.doi.org/10.58680/ej201930288.

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Dabinett, Gordon. "Creative Sheffield: Creating Value and Changing Values?" Local Economy: The Journal of the Local Economy Policy Unit 19, nr 4 (listopad 2004): 414–19. http://dx.doi.org/10.1080/0269094042000286891.

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Colebrook, Claire. "CREATIVE EVOLUTION AND THE CREATION OF MAN". Southern Journal of Philosophy 48 (30.09.2010): 109–32. http://dx.doi.org/10.1111/j.2041-6962.2010.00024.x.

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Paris, Thomas, i Sihem Ben Mahmoud‐Jouini. "The process of creation in creative industries". Creativity and Innovation Management 28, nr 3 (24.07.2019): 403–19. http://dx.doi.org/10.1111/caim.12332.

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Jones, Stephanie. "Laying Tracks: Teaching Creative Writing, Writing Creatively". Wasafiri 31, nr 3 (2.07.2016): 66–71. http://dx.doi.org/10.1080/02690055.2016.1184914.

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Bernstein, Alan L. "Creating Traffic with Creative Night Vision Technique". Ear, Nose & Throat Journal 75, nr 10 (październik 1996): 684. http://dx.doi.org/10.1177/014556139607501012.

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Pirie, Susan, i Thomas Kieren. "Creating constructivist environments and constructing creative mathematics". Educational Studies in Mathematics 23, nr 5 (październik 1992): 505–28. http://dx.doi.org/10.1007/bf00571470.

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Ivanitsky, Alexei M. "Creative brain: The neurobiological basis of creation". International Journal of Psychophysiology 19, nr 1 (luty 1995): 81–82. http://dx.doi.org/10.1016/0167-8760(95)90003-9.

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Wirtz, Jason. "Creating Possibilities: Embedding Research into Creative Writing". English Journal 95, nr 4 (1.03.2006): 23. http://dx.doi.org/10.2307/30047083.

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Mazzucato, M. "Financing innovation: creative destruction vs. destructive creation". Industrial and Corporate Change 22, nr 4 (16.07.2013): 851–67. http://dx.doi.org/10.1093/icc/dtt025.

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Wirtz, Jason. "Creating Possibilities: Embedding Research into Creative Writing". English Journal 95, nr 4 (1.03.2006): 23–27. http://dx.doi.org/10.58680/ej20064953.

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Jason Wirtz has turned his research unit into a creative writing project. While still relying on traditional methodology, including requiring students to write a “miniature research paper,” the true goal is for students to write a short story that embeds their research to enhance the narrative.

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Bartekova, Maria. "Creative industries in Slovakia and their pricing strategies as the part of their marketing mix". Marketing Science & Inspirations 16, nr 3 (29.10.2021): 21–30. http://dx.doi.org/10.46286/msi.2021.16.3.3.

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The aim of this article is to contribute to the understanding of the possibilities of application of selected pricing strategies in the conditions of the creative industries in Slovakia. A creative product has interesting economic aspects, which are conditioned by its specific parameters. The economic potential of a creative product is a way of returning the investment in its creation, as well as a way of generating profit. In this case, the economic potential is the set of economic utility – uniqueness, intellect, knowledge, talent and skills added by each participant in the process of product creation. These characteristics make the products of the creative industries fundamentally different from those of traditional manufacturing. The added value of a creative industry product is not determined by the amount of work invested in its creation, but by the subjective perception of consumers, insofar as its consumption satisfies their personal needs. Pricing in creative industry enterprises results from a number of factors that determine the strategic direction of the enterprise and its output. This fact in turn influences the strategy of conceiving and creating individual prices. These play an important role in the strategic marketing of creative industry enterprises, despite their specificities (zero price or free entry, voluntary, list-based). It should be noted that prices are set differently in the non-profit sector and in the for-profit sectors producing in the creative industries. This means that in terms of the marketing mix of each tool, the pricing functions need to be taken into account.

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Pitaloka, Devanka Diaz Ayu, i Soemaryatmi Soemaryatmi. "Devanka Diaz’s Creative Process of the Pas Ma Responsabilité Dance Work". Jurnal Seni Tari 12, nr 1 (26.07.2023): 51–61. http://dx.doi.org/10.15294/jst.v12i1.66212.

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This research reveals the creative process of creating Pas Ma Responsabilité dance work, starting from the discovery of ideas and concepts to the forms of presentation with a creative background in contemporary works. The research method used is qualitative with descriptive analysis using the practice-led approach where the practice of writing goes concurrently with data collection techniques through field studies and literature studies. This research produces a description of the creative process of creating the Pas Ma Responsabilité dance work which is revealed based on the existing theory and the processes that occur directly in the field. The creative process consists of preparation, in the form of data collection and an exploratory process with creative and divergent thinking; incubation, the process of settling and understanding data until appearing inspiration; illumination, the exploration stage of movement, expression, potential, technique, and character; verification, the stage when the idea or new creation must be tested against reality. This research can be used as a critical reference for discussing novelty in today's contemporary dance. The main framework in this paper used as a reference is the creative processes and the results of the field practice process.

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Gaveika, Artūrs. "PERSONALITY DEVELOPMENT, EDUCATION AND COMPETENCE AS BASIC ELEMENTS OF CREATIVITY". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (26.05.2016): 48. http://dx.doi.org/10.17770/sie2016vol4.1546.

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The task of modern technologies is not only to reproduce the obtained information, but also to motivate students to new knowledge, competence and creativity in a wider spectrum of a professional sphere. In this article the connection between education, development and competence in creation of a creative individual has been researched. The author comes to the main conclusion that the creative individual is based on the education and personal development throughout their lives through educational competence of teachers, creating individual and professional competences of a modern person as a base for creative personality.

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