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1
Valeriani, Devi, Dian Prihardini Wibawa, Rendy Rendy, and Rianto Rianto. "Analysis of The Economic Impact of Covid 19 on Performance Tourism Business Personnel in Belitung District." TRJ Tourism Research Journal 7, no. 1 (April 14, 2023): 33. http://dx.doi.org/10.30647/trj.v7i1.207.
Анотація:
This study aims to determine the influence of marketing, finance, production, human resources, creativity, and innovation on the performance of tourism business actors. This research is a quantitative descriptive study using simple random sampling. The population consisted of 18,591 business actors in the Belitung Regency, with a sample size of 100 using the Slovin formula. The partial results show that marketing and production have no significant effect on tourism business actor performance, while finance, human resources, creativity, and innovation have a significant impact. Due to constraints such as access, mobility, purchasing power, and societal fear, marketing does not affect tourism business performance. Finance affects the performance of tourism business actors by maintaining business liquidity, improving resilience, and providing access to financing for future expansion. Production activities do not affect tourism business performance as they focus more on service provision, optimizing marketing, financial management, and adjusting business models. Human resources significantly impact tourism business actor performance because skilled employees help maintain service quality, implement health and safety protocols, and adapt to changes. Creativity and innovation positively impact tourism business actor performance by creating new products, improving efficiency, and differentiating from competitors.
Keywords: Marketing, Finance, Production, Human Resources, Creativity And Innovation, Tourism Business Actors Performance
2
Noh, Grimm. "Effects of Network Size, Diversity, and Interaction Frequency on Individual Creativity: A Study from South Korea." Social Sciences 11, no. 4 (April 7, 2022): 170. http://dx.doi.org/10.3390/socsci11040170.
Анотація:
Creativity is becoming a necessary core competence in nearly all businesses today, and firms are striving to find ways to promote the creativity of employees. This study aimed to analyze the relationships between an individual actor’s network characteristics and the actor’s creativity. More specifically, this study assumed that actors qualitatively differentiate between their global and local networks depending on whether they perceive the other actors in the network as mere acquaintances or trusted persons to discuss life’s important issues with. This study used large-scale survey data collected from South Korea to empirically analyze the hypothesized relationships between network characteristics and creativity. The empirical analysis of the survey data showed that the size and diversity of the global network were positively related to creativity. However, the positive effect of global network diversity decreased with an increase in the size of the network. In the local network, frequent interactions had a positive effect on creativity, while the diversity of the local network had a moderate negative effect on creativity. Implications for the creativity literature are discussed.
3
Karki Kshetri, Dibendra Bahadur. "Seeking Stanislavski Techniques of Actor Training in Nepalese Context from His Book An Actor Prepares." Journal of Development and Social Engineering 8, no. 01 (December 31, 2022): 29–38. http://dx.doi.org/10.3126/jdse.v8i01.54265.
Анотація:
This paper aims at searching for techniques of actor training in Nepal associating similarities (or differences if any) theorized by Constantin Stanislavski (1863-1938), a Russian theatre director in his book An Actor Prepares. The acting ‘system’ also known as ‘method’ is an approach to acting, developed in the 1920s to support actors in the process of embodying and enacting a role. Although acting may not be an exact science, there is a method to the madness as the package of three-month actor training in Nepali Acting Schools (Gurukul, Actor’s Studio, Mandala, and Sarwanam) like Stanislavski’s. When the body is true, the soul reacts. When the body lies, the soul gets frightened. Where there is truth and belief, actors have genuine, productive, specific action, experiences, the subconscious, creativity and art. Actors communicate others in creative and convincing ways. People look for creative instincts, innate talent, and intellectual capacity to perform. Performance, connected to everyday life, is both believing and living. Theatre/Film has been considered as an important platform to showcase socio-political, eco-cultural or historic- religious realities in Nepal.
4
Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (December 21, 2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.
Анотація:
When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?
5
HRIB, Bogdan. "Actors of Creativity and Entrepreneurship in Romania." Management Dynamics in the Knowledge Economy 6, no. 4 (2013): 655–72. http://dx.doi.org/10.25019/mdke/6.4.10.
6
Munro, Marth, Mariana Pretorius, and Allan Munro. "Creativity, emotional intelligence and emotional creativity in student actors: a pilot study." South African Theatre Journal 22, no. 1 (January 2008): 44–61. http://dx.doi.org/10.1080/10137548.2008.9687883.
7
Hoff, Eva, and Ingegerd Carlsson. "She, You and They – More Actors on the Creativity Research Stage!" Creativity. Theories – Research - Applications 2, no. 1 (June 1, 2015): 38–43. http://dx.doi.org/10.1515/ctra-2015-0005.
Анотація:
AbstractThe commentary confirms and builds on Glăveanu’s critical scrutiny of the current stage of creativity research. The need for more actors, theories, methods and definitions will not be fulfilled until critical reflection concerning what has been done and synthesis between different research attempts are achieved. The authors first expand the creativity stage by discussing what will happen in creativity research attempts if we alternate with a “ she, you and they” perspective? They then present a new definition of creativity. Creativity is seen as a collective, generative, novel way of experiencing reality ending with the idea of a shared product that is evaluated as creative in a relevant context. This definition is in line with the development of a new creativity tool or measurement, the Test for Distributed Creativity in Organizational Groups (DOG). The DOG can be used both for measuring the products of creative groups and investigating their processes.
8
Ettlinger, Nancy. "Bringing the Everyday into the Culture/ Creativity Discourse." Human Geography 3, no. 1 (March 2010): 49–59. http://dx.doi.org/10.1177/194277861000300104.
Анотація:
This article critiques and offers an alternative conceptualization of ‘culture’ and ‘creativity’ using an actor-based and relational epistemology. ‘Culture’ and ‘creativity’ have been socially constructed in scale-specific terms that overlook everyday practices that can diverge from dominant patterns and suggest hopeful possibilities, which ironically are lost in many Left-leaning narratives. Hopeful possibilities are traceable analytically to circuits of material and discursive value, which are inextricably related but can entail different trajectories across scales. Tracing these trajectories requires analytical attention to microscale activity, that is, to individual actors’ material practices, which produce mutable, discursive and material value at multiple scales.
9
Mardjuni, Sukmawati, Thanwain, Indrayani Nur, Herminawaty Abubakar, Firman Menne, and Abdul Karim. "BUSINESS SUSTAINABILITY IN FOOD AND BEVERAGE PROCESSING INDUSTRY THROUGH INNOVATION IN MAROS REGENCY, INDONESIA." Journal of Southwest Jiaotong University 57, no. 6 (December 30, 2022): 995–1003. http://dx.doi.org/10.35741/issn.0258-2724.57.6.85.
Анотація:
Research to analyze the influence of the creativity and innovation of business actors on the sustainability of food and beverage processing business actors. This research analyzes the influence of creativity on business continuity through food and beverage processing business actors in the Maros Regency. This research is a quantitative research with the explanatory method. The population in the food and beverage processing industry in Maros Regency is 476. This study uses the Slovin formula so that the number of samples is 217 units or business actors in the food and beverage processing industry—data collection techniques through questionnaires with data analysis techniques using structural equation model analysis. The results of the study show that innovation has a significant impact on business actors. This indicates that the higher the level of creation, the more significant the increase in food and beverage processing business actors in the Maros Regency. The innovations they have can have a tangible impact on increasing the sustainability of the food and beverage processing business in Maros Regency. The results of this study indicate that the influence of business actors has significantly increased the sustainability of the food and beverage processing business and increased the regional economy. Business actors can create creativity for the sustainability of food and beverage processing businesses in the Maros Regency.
10
Hamka, Hamka, Sukmawati Marjuni, and Chahyono Chahyono. "PENGARUH KREATIVITAS DAN INOVASI TERHADAP KEBERLANGSUNGAN USAHA MELALUI PELAKU USAHA INDUSTRI PENGOLAHAN MAKANAN DAN MINUMAN DI KABUPATEN MAROS." Indonesian Journal of Business and Management 4, no. 1 (December 30, 2021): 1–6. http://dx.doi.org/10.35965/jbm.v4i1.1190.
Анотація:
Untuk menjaga keberlangsungan usaha seyogiaya dilakukan melalui pengembangan ekonomi kreatif. Pe-ngelolaan Usaha industri pengolahan makanan dan minuman melalui penerapan ekonomi kreatif sebagai wujud dari upaya untuk menjaga keberlangsungan usaha melalui kreativitas dan inovasi. Tujuan penelitian ini adalah untuk menganalisis pengaruh kreativitas dan inovasi terhadap pelaku usaha, pengaruh kreativitas, inovasi dan pelaku usaha terhadap keberlangsungan usaha, serta untuk menganalisis pengaruh kreativitas dan inovasi terhadap keberlangsungan usaha melalui pelaku usaha. Penelitian ini merupakan penelitian kuantitatif dengan metode explanatory. Adapun yang menjadi populasi adalah Industri pengolahan makanan dan minuman di Kabupaten Maros sebanyak 476, dengan menggunakan sloving sehingga diperoleh jumlah sampel sebanyak 217. Teknik pengumpulan data melalui penyebaran kuesioner dengan teknik analisis data menggunakan analisis SEM. Hasil penelitian bahwa kreatifitas memberikan pengaruh secara nyata dalam meningkatkan pelaku usaha. Inovasi memberikan pengaruh secara nyata terhadap pelaku usaha. Kreatifitas memberikan pengaruh secara nyata dalam meningkatkan kebelangsungan usaha. Inovasi yang dimiliki maka akan dapat memberikan pengaruh yang nyata dalam meningkatkan keberlangsungan usaha. Pelaku usaha memberikan pengaruh yang nyata dalam meningkatkan keberlangsungan usaha. Pelaku usaha dapat memediasi pengaruh kreatifitas terhadap keberlangsungan usaha dan pelaku usaha dapat memediasi pengaruh inovasi terhadap keberlangsungan usaha pengolahan makanan dan minuman di Kabupaten Maros.. To maintain business continuity, it should be done through the development of the creative economy. Business management of the food and beverage processing industry through the application of the creative economy as a manifestation of efforts to maintain business continuity through creativity and innovation. The purpose of this study is to analyze the effect of creativity and innovation on business actors, the effect of creativity, innovation and business actors on business continuity, and to analyze the effect of creativity and innovation on business sustainability through business actors. This research is quantitative research with an explanatory method. The population of the food and beverage processing industry in Maros Regency is as many as 476, by using slovin so that a total sample of 217 is obtained. Data collection techniques are through questionnaires with data analysis techniques using SEM analysis. The results of the study show that creativity has a real influence on increasing business actors. Innovation has a real impact on business actors. Creativity has a real influence on increasing business continuity. The innovations that are owned will be able to have a real influence on improving business continuity. Business actors have a real influence on improving business continuity. Business actors can mediate the influence of creativity on business continuity and business actors can mediate the influence of innovation on the sustainability of food and beverage processing businesses in Maros Regency
11
Morkina, Julia S. "Meaning-constitution Problems in the Digital Culture’s Horizon." Voprosy Filosofii, no. 12 (2021): 78–89. http://dx.doi.org/10.21146/0042-8744-2021-12-78-89.
Анотація:
Meaning-constitution and creativity processes in contemporary culture have obviously been changed under the artificial intelligence’s conditions as “natural-artificial intelligence” system starts to contribute to creativity as meaning-constitution and creativity processes. Аrtificial intelligence seems to be a relatively young actor in the human culture. Its conceptual framing as well as its philosophical contribution to meaning-constitution processes requires special research efforts. Search for the new ways of meaning-constitution conceptual framing in conceptual culture’s horizon, is consists of different actors including artificial intelligence facilities, already posed numerous epistemological and ethical problems, is the purpose of the present research. Research strategy and meaning-constitution analysis requires to separate meaning-constitution approaches in contemporary research tradition on micro- and macro-levels. As for micro-level approaches to consciousness are concerned, I arrive to the conclusion, that artificial intelligence contribution in creativity processes requires macro-level approach to contemporary culture. I am trying to analyze artificial intelligence – within the framework of the macro-level approach – as a special actor, sophisticated phenomenological contemplations and B. Latur’s actor-network theory being relevant to the study of this subject matter.
12
Wylam, Lisa Wolford. "Devising Twenty-First Century Approaches to Actor Training in Central Canada." Canadian Theatre Review 135 (June 2008): 79–81. http://dx.doi.org/10.3138/ctr.135.020.
Анотація:
In one of his final fully developed essays, “From the Theatre Company to Art as Vehicle,” Jerzy Grotowski suggests that theatre educators invested in the rhetoric and technique of Stanislavsky’s system of actor training do a terrible disservice to young actors by replicating within theatre schools the brief rehearsal times characteristic of commercial practice. “How is it possible to study Stanislavsky for two or three years and prepare an opening in four weeks …?” Grotowsk asks. “Stanislavsky would never have accepted it. For him, the minimum period of work on a performance was several months, and the opening took place only when the actors were ready” (117). Rather than mirroring those aspects of the entertainment industry most inimical to the development of creativity and maturation of technique, Grotowski saw the possibility for college and university theatre departments to model a different kind of process, one that emphasized the importance of ensemble work in developing creativity.
13
Klose, Stephan. "The emergence and evolution of an external actor’s regional role: An interactionist role theory perspective." Cooperation and Conflict 54, no. 3 (June 7, 2018): 426–41. http://dx.doi.org/10.1177/0010836718774584.
Анотація:
The regional roles external actors play, such as ‘China’s role in Africa’ or ‘the US role in East Asia’, have long been popular subjects of analysis in the international relations literature. Yet, the emergence and evolution of these roles remains remarkably under-theorized. While some ‘new regionalist’ scholars have discussed the dynamics of an external actor’s regional involvement by referring to the concepts of ‘penetration’ and ‘socialization’, neither concept, this article argues, is sufficiently equipped to capture how external actors come to aspire and realize their regional roles. To address this shortcoming, the article employs an interactionist role theory perspective, which draws on the work of social psychologist George Herbert Mead. In following this perspective, the article argues that external actors develop regional role aspirations as they draw on their creativity and reflexivity to overcome experienced uncertainties. To realize these aspirations, the article suggests, external actors seek to cast significant others into corresponding roles. Alter-casting, the article argues in this context, is critical for understanding the (re)constitution of an external actor’s regional role, and thus a region’s social structure.
14
Gonçalves, Duarte. "Understanding Actors in Complex Security Problems." International Journal of Strategic Decision Sciences 9, no. 2 (April 2018): 1–18. http://dx.doi.org/10.4018/ijsds.2018040101.
Анотація:
This article arose while working on the rhino poaching problem in South Africa and having to deal with the large number of stakeholders and complexity. The purpose of actor modelling is to develop a deeper understanding of how stakeholders and threats contribute to the complex security problems. This article is the author's reflection on two different attempts at modelling actors in the rhino problem. A framework is developed and a number of issues are raised with respect to actor modelling: First, values and perspectives are driven by actor needs. The knowledge acquired by actors is determined by perspectives. With a diversity of actors, there is a “fragmentation of perspective” that hampers addressing the problem. Thus, dealing with fragmentation of perspective, requires an approach that is inclusive of actors and different ways of knowing. The validity of actor modelling is limited by what can be determined about the values and interests of actors and this varies across actors. Second, actors have multiple identifications with multiple levels of relationality. For high levels of identification combined with low levels of relationality, there is a challenge for a researcher to understand actor behaviour. Third, actors operate in an autonomy-heteronomy space. This is not a continuum, but both autonomy and heteronomy experienced at the same time. When actors are autonomous they live out their values and interests and are most creative. When creativity is applied, there are many ways (what) of satisfying interests and living out values (why), but actors do not behave randomly. Under autonomy, understanding motivation (why) is more important than what because why is more stable and what cannot be predicted. Actors are dynamic, non-deterministic and non-linear. Fourth, the model represents not only structure but also motivation or purpose and resources; thus, addressing certain aspects of subjective and objective fragmentation. Based on the argument advanced in the paper, the sources of actor complexity leading to novel emerging behaviour in social systems are actor needs and the corresponding values and perspectives, high levels of identification with low levels of relationality and autonomy.
15
Hasan, Muhammad, Annur Fitri Hayati, Miranda Miranda, Fira Ayu Sasmita, and Muh Rijal Shafar. "Ekonomi Kreatif di Masa Adaptasi Kebiasaan Baru: Kajian Kreativitas dan Inovasi Pada UMKM Subsektor Kuliner." Jurnal Inovasi Pendidikan Ekonomi (JIPE) 11, no. 2 (December 1, 2021): 148. http://dx.doi.org/10.24036/011126360.
Анотація:
This study aims to reveal the creativity and innovation of SMEs in the culinary sub-sector in Makassar City, when viewed from the perspective of the creative economy in the new adaptation period. This study is a study with a quantitative descriptive approach with survey techniques. There are four aspects measured in this study, namely the adaptation of new habits, the creativity of the culinary sub-sector MSME actors, the innovation of the culinary sub-sector MSME actors, and the marketing strategy carried out by the culinary sub-sector MSME actors. The data collection instrument used a questionnaire. Sampling used a purposive sampling technique by setting specific criteria as a condition for determining the sample so that a sample of 30 SMEs in the culinary sub-sector was obtained. The findings of this study show that even though they have faced a big storm that has shaken their economy, the culinary sub-sector MSME actors still maintain their business existence in order to be able to survive during the COVID-19 pandemic. It is proven that the culinary sub-sector MSME actors have creativity and innovation by adapting to new habits through the use of technology in business management and marketing strategies, and complying with health protocols to local government regulations.
16
Alfiyanti, Mufidha, Ayun Maduwinarti, and Ute Chairuz M. Nasution. "PENGARUH KREATIVITAS DAN MODAL USAHA TERHADAP KEBERLANGSUNGAN UMK DI SENTRA KULINER FOOD STREET SEMOLOWARU (JALUR GAZA) SURABAYA." Jurnal Dinamika Administrasi Bisnis 9, no. 2 (February 13, 2024): 56–61. http://dx.doi.org/10.30996/jdab.v9i2.10520.
Анотація:
Sentra Kuliner Food Street Semolowaru (Jalur Gaza) Surabaya is one of the Micro Small Enterprises in Surabaya. To maintain business continuity, business actors need creativity and sufficient capital to support business continuity. Creativity and Business Capital play an important role in a business. creativity is an effort to produce products to add high value to a business. on the other hand, capital is needed to support all business activities. with sufficient and adequate capital, of course, business actors do not experience difficulties in dealing with financial problems, so that the business can run well to achieve its business goals. In this study, researchers tried to find out the effect of two independent variables, namely Creativity and Business Capital on the dependent variable, namely Business Sustainability. with the object of research at Sentra Kuliner Food Street Semolowaru (Jalur Gaza) Surabaya. The research method used in this research is quantitative research with a causal associative type of research. In collecting data, researchers distributed questionnaires directly and the technique used was a non-probability sampling technique with the type of sampling Saturated (census). The number of respondents is all business people in the Sentra Kuliner Food Street Semolowaru (Jalur Gaza) Surabaya, totaling 50 respondents. The results of this study prove that creativity and business capital have a significant effect on business continuity at the Sentra Kuliner Food Street Semolowaru (Jalur Gaza) Surabaya. Based on the results of this study, it can be suggested for business actors in the Sentra Kuliner Food Street Semolowaru (Jalur Gaza) Surabaya related to creativity is to vary the new menu in accordance with consumer interests that are always changing. While the suggestion regarding business capital is that business actors can take advantage of low-interest credit facilities offered by the government for UMKM.
17
Fiaschini, Fabrizio. "Creativity and Scenic Presence: The Secrets of Disabled Actors." Dramatherapy 34, no. 1 (March 2012): 22–28. http://dx.doi.org/10.1080/02630672.2012.658207.
18
Riana, Rida, and Abd Rasyid Syamsuri. "Empirical Study: Entrepreneurs Performance of Micro, Small and Medium Enterprises (MSMEs) in Tanjung Morawa A Village, Deli Serdang, North Sumatra, Indonesia." International Journal of Business, Technology and Organizational Behavior (IJBTOB) 2, no. 4 (August 18, 2022): 333–45. http://dx.doi.org/10.52218/ijbtob.v2i4.208.
Анотація:
This study intends to examine how social capital, inventiveness, and product innovation impact the entrepreneurs performance of Micro, Small, and Medium-Sized Enterprises (MSMEs) in Tanjung Morawa A Village, Deli Serdang, North Sumatra, Indonseia. This study used a quantitative research design. The period of time for doing this research is from March to May 2022. Observation, study documentation, and questionnaires are the data collection methods used. Up to 65 UMKM offenders from Tanjung Morawa A Village make up the study's population. A quota sampling method was used to sample each population. Multiple linear regression using the SPSS program is the analysis strategy used in this study. The study's findings demonstrate that social capital has a positive and significant impact on MSME players' performance. The performance of MSME actors is positively and significantly impacted by creativity. Product innovation positively and significantly impacts how MSME actors operate. Overall, the performance of MSME actors is positively and significantly impacted by social capital, creativity, and product innovation. This study's coefficient of determination (R2) is 0.700, which suggests that social capital, creativity, and product innovation may account for 70% of the success of MSME actors.
19
Ayu Effendi, Kharisya, Rima Rahmayanti, Neuneung Ratna Hayati,, Darwis Agustriyana, and Pipin Sukandi. "FINANCIAL LITERACY AS ONE OF THE STRENGTHENING OF ENTREPRENEURIAL COMPETENCIES IN PMI ON TAIWAN." International Journal of Education and Social Science Research 06, no. 06 (2023): 11–28. http://dx.doi.org/10.37500/ijessr.2023.6602.
Анотація:
Starting from the problem of poverty that makes Indonesian people want to change their fate by becoming Indonesian Migrant Workers. Taiwan is one of the countries that is the destination of PMI. In this case, PMI must also be equipped with entrepreneurial skills to improve a better standard of living. Thus, the purpose of this study is to strengthen entrepreneurial competencies for Taiwanese PMI business actors through financial literacy and building creativity and innovation. This research is quantitative causal associative. Financial literacy, creativity and innovation are independent variables. Entrepreneurial competence is the dependent variable. The data in this study are the entire population, namely PKBM Taiwan PPI participants. The number of PPI PKBM Taiwan participants totaled 35 people. This study uses primary data through the use of survey procedures. The results of this study accept the first and second hypotheses, namely financial literacy and creativity have a positive and significant influence on entrepreneurial competence in Taiwanese PMI, but the third hypothesis is rejected because innovation has no effect on strengthening entrepreneurial competence in Taiwanese PMI. The findings in this study are that financial literacy and creativity are needed by Taiwanese PMI business actors who want to start a business and improve entrepreneurial competence. Also, the finding in this study is that innovation is not the main thing for business actors in Taiwanese PMI in strengthening entrepreneurial competence because innovation is not a new invention but the development of an invention.
20
Trofimov, Andrii Yu, Hanna K. Yurchynska, Antonina M. Lovochkina, Nataliia I. Pohorilska, Ivanna V. Ananova, and Olga V. Drobot. "Forming of spontaneity and creativity during playback theater activities." Linguistics and Culture Review 5, S4 (October 23, 2021): 431–41. http://dx.doi.org/10.21744/lingcure.v5ns4.1585.
Анотація:
Finding the solution of many problems requires from person an ability of quick unconscious perception. Between spontaneity and creativity, there are both positive and negative relationships. In accordance with the authors’ forming program, the participants were equated with Playback actors with only difference that the actors aim to improve their skills while the participants develop their spontaneity. The authors have built the forming program which contained a set of training and developmental exercises and games aimed at developing spontaneity, attention and creative thinking. Six interconnected blocks of the forming program structure were characterized (Introduction; The development of spontaneity through creativity; The development of spontaneity through tolerance to uncertainty; The development of spontaneity through autonomy; Generalization and combination; Summing up). Its effectiveness was analyzed with help of an initial and final survey of participants. During the study, the participants’ level of spontaneity increased.
21
Adams-Price, Carolyn E. "THE SOCIOCULTURAL MODEL OF CREATIVITY: HOW IT CAN EXPLAIN THE SIGNIFICANCE OF MULTIPLE FORMS OF LATE-LIFE CREATIVITY." Innovation in Aging 3, Supplement_1 (November 2019): S417. http://dx.doi.org/10.1093/geroni/igz038.1555.
Анотація:
Abstract Creativity in later life comes in many forms, ranging from everyday creativity to genius-level creativity, and including both newly learned creative activities and life-long creative hobbies. Previous psychosocial models of creativity have had limited utility in explaining the significance of late life creativity. Glaveanu’s sociocultural model has not been previously applied to older adults, but its inclusiveness makes it supremely useful for describing the range of creative activities and products in context. Creativity, according to Glaveanu, involves five interconnected components: actors, actions, artifacts, audiences, and affordances, which can be used to describe many different points along continuum of creative activities. The sociocultural model recognizes the value of different levels of creativity, including culturally-specific crafts, practice and learning new skills, the role of large and small audiences for creativity, and the connection of creativity and community. Glaveanu’s model will be discussed in the context of Erikson’s theory of late life development.
22
Jabko, Nicolas, and Adam Sheingate. "Practices of Dynamic Order." Perspectives on Politics 16, no. 2 (May 16, 2018): 312–27. http://dx.doi.org/10.1017/s1537592717004261.
Анотація:
In accounting for the endurance of dysfunctional institutions, scholars often highlight the importance of path dependence or incremental change. Yet this fails to capture the creativity that actors deploy to reproduce order, particularly in times of crisis. We propose the concept of dynamic order, rooted in pragmatist theory, as an alternative way to think about institutional durability. Powerful actors reproduce order through creative adjustments to rules and routines that channel action into predictable and controllable behavior. We illustrate this dynamic with examples from the European Union and the United States. In response to the crisis of the Eurozone, EU and state officials invented new procedures that strengthened European governance at the very moment many questioned whether the euro could survive. Likewise, in the United States, public officials responded to social movements and street protests against racism and police brutality by creatively channeling these grievances into judicial proceedings and procedures controlled by the state. By focusing on how elite actors regenerate order in times of crises, our analysis enhances the conceptual toolkit currently available to the scholars of institutions.
23
Ekomadyo, Agus S., Tyas Santri, and Andika Riyadi. "Reassembling Traditionality and Creativity: A Study of Place as Assemblage in Pasar Cihapit Bandung." SHS Web of Conferences 41 (2018): 07006. http://dx.doi.org/10.1051/shsconf/20184107006.
Анотація:
There are many efforts to revitalize traditional market as urban economic and socio-cultural place. Several creative communities in Bandung have been trying to pep up the vitality of Pasar Cihapit Bandung through socio-cultural events. Through place as assemblage approach, this paper traces the actors involved and their relation in the place-making, and also to seek how the creative movement contribute to the traditional economic activities which have been taken place before. This creative movement has identified to be able to attract public attention to the market, signified in the media publication. The emergence of new actors also generated the contested space in Cihapit market, influenced by actors’ relation to another group outside the market. The market publicities is also attracted political actors concern, stimulated by their popularity desires, that impact to space contestation intensity. It is found that creative movement can increase the physical image of the market by socio-cultural events, but it is not found its significant contribution to improve the economic role of the traditional market. This paper contributes knowledge to understand how everyday practice of power works in designing and creating built environment
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Dumas, Denis, Michael Doherty, and Peter Organisciak. "The psychology of professional and student actors: Creativity, personality, and motivation." PLOS ONE 15, no. 10 (October 22, 2020): e0240728. http://dx.doi.org/10.1371/journal.pone.0240728.
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Alfadri, Ferri. "Peran Quadruple Helix Dalam Meningkatkan Kreatifitas Dan Inovasi Industri Kreatif Berbasis Syariah." Jurnal Ilmiah Ekonomi Islam 9, no. 2 (July 2, 2023): 1859. http://dx.doi.org/10.29040/jiei.v9i2.8324.
Анотація:
The purpose of this study to find out how the role of each Quadruple Helix party is in increasing the performance of creativity and innovation in creative industry players in Padangsidimpuan City. This research is a field research with a qualitative method approach with Miles and Huberman descriptive analysis. Data collection techniques were carried out by direct observation and interviews with each of the helix actors. The Result in this study provide a conceptual framework for how creativity can be enhanced through the four helix approaches and interactions to enhance innovation performance. Within this framework, creativity is an important factor to improve the innovation performance of Indonesia's creative industries
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TURECKOVA, Kamila, Jan Nevima, Frantisek VARADZIN, Jakub TROJAN, Anna VANOVA, Darina ROJIKOVA, and Stanislav MARTINAT. "Deployment of creative actors and varieties of their impact on the quaternary sector and regional growth: a case study of NUTS2 regions of the Czech Republic." Eastern Journal of European Studies 14, no. 1 (2023): 181–97. http://dx.doi.org/10.47743/ejes-2023-0109.
Анотація:
The current era acknowledges the immense impact of creativity on economic growth and regional development. There is an ongoing debate about the position of creativity and its sources and implications in regional economies when thorougly examining regional disparities. We contribute to the debate by piloting an investigation of five groups of creative actors whose links and consequences for regional growth and the quaternary sector were explored. As a case study, the NUTS2 regions of the Czech Republic were selected for analysis (2015-2017). Given the nature of selected indicators, the causality results and the substantive importance of our investigation, the selected time period is not a limiting factor for our analyses. The empirical conclusions of the conducted study clearly confirmed the theoretically and logically defined thesis on the diverse importance of creative actors in regional economies.
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Shibaeva, Mikhalina M. "Russian Culture Actors on the Subject of Artistic Creation ." Observatory of Culture, no. 2 (April 28, 2015): 92–96. http://dx.doi.org/10.25281/2072-3156-2015-0-2-92-96.
Анотація:
Addresses the polemical nature of the Russian experience in understanding the key problems related to the notion of “a subject of artistic creativity.” The emphasis is put on the interdetermination between shifts in artist’s worldview attitudes and renewals in language of arts that the author believes specific to Russian culture.
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Sakharova, Anna V. "Hunting for Creativity." Epistemology & Philosophy of Science 61, no. 2 (2024): 175–89. http://dx.doi.org/10.5840/eps202461232.
Анотація:
Science communicators, including journalists and experts in the field of public relations in science, are often seen as an external and optional addition to the scientific community. Their influence on scientific practices and public perception of science is often underestimated, and their role is understood as a technical one: as a simple retelling of scientific research in a language understandable to the public. In this paper, using the example of such a criterion as “creativity”, we propose to reconsider the role of science communicators more broadly. The paper shows that it is science communicators, rather than representatives of the scientific community, who should be the primary subjects of evaluating articles according to the criterion of creativity. The authors argue that the creativity of scientific research is an essential element in the development of science as a social phenomenon, rather than just a component of its internal operation. Science communicators are not considered as “external” actors in relation to science – their work has a significant impact on the fundamental criteria for scientific success, such as the establishment of scientific reputation, and influences the perception of science among the general public. They do not just describe research, they form ideas about the value aspects of science in society and influence the image of science, which is broadcast into the public space, selecting articles according to certain criteria that are not always the most significant in science, endowing scientific results with a special, socially relevant significance that is not explicitly presented in the texts of scientific articles. The activities of science communicators can influence the funding and development of a scientific field, its public and government support, its popularity among applicants, students and young scientists – and, consequently, the quality of scientific personnel involved in this field. In fact, science communicators turn out to be key architects of public, and often intrascientific, ideas about science and various scientific fields.
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Santoso, Sugeng, Antonius Setyadi, Muhammad Ramadhani Marfatah, Juli Simon Macariola, Jehan Reza Ananda, and Nurahma Sabila. "Increased Addes Value Msmes Through Innovation Management in Entrepreneurship." DIKDIMAS : Jurnal Pengabdian Kepada Masyarakat 3, no. 1 (April 30, 2024): 57–67. http://dx.doi.org/10.58723/dikdimas.v3i1.262.
Анотація:
The existence of a community among MSMEs/creative economy actors is an important thing that needs to be considered in innovation, to meet consumer needs. This Community Service aims to strengthen the capacity of MSMEs in understanding innovation management in entrepreneurship. The scope of PkM is intermediation with MSMEs/creative economy actors for the products/services produced to be accepted by users, understanding, knowledge of creativity and innovation management are needed. The method used uses a qualitative approach through participatory discussions during the implementation of PkM, pre-survey - participatory observation, and interviews with key informants and main informants and supporting informants. The analysis used in this article is qualitative data analysis, namely measuring knowledge of innovation and providing suggestions/input for improvements so that it can be followed up by MSME players. The output of this Community Service is to increase the community's understanding and skills in understanding the creativity and innovation of the products they produce because so far most of them do not have an understanding of innovation management in entrepreneurship. The results of the PkM are that UKM guidance, namely output officials, will follow up on these outcomes and be accompanied by UMB lecturers. The conclusion is that MSME actors in Meruya Selatan Subdistrict do not yet understand the importance of creativity and innovation, including market changes (user) needs, technological developments and innovations that can be used in the business value chain (entrepreneurship) as well as the use of digital in entrepreneurship, especially digital transformation for marketing channels.
30
Hachmann, Gundela. "Network Analysis in Literature and the Arts: Rethinking Agency and Creativity." Journal of Literary Theory 17, no. 2 (August 14, 2023): 221–40. http://dx.doi.org/10.1515/jlt-2023-2010.
Анотація:
Abstract The essay proposes to think of the creative subject as an actor in a network, that is, following Bruno Latour, as a »moving target of a vast array of entities swarming toward it« (Latour 2005, 46). It explores what it means to bring a network analysis to lectures on poetics by employing both a structuralist visualization informed by a computational method and a sociological method according to Latour’s Actor-Network-Theory (ANT). ANT is used to make traceable what with Hugh Kenner is called »elsewhere communities« consisting of spirits and minds along with objects and spaces. This serves to defend a method of criticism that is not oriented towards unearthing deep textual meanings, but which foregrounds the arts’ relatability and potential for provoking association and attachments. Network analysis in the arts and humanities, so goes the argument, has the potential to be much more than a formalist description of connections made. It offers means for detecting the implicit and explicit presences of a variety of different actors in or relating to works of art and challenges us to move beyond established analytical categories such as intertextuality and intermediality by opening the inquiry to a wider diversity of actors and to redefine our understanding of creativity. The article focuses on networks that emerge in lectures in which renowned artists from around the world share with general audiences their views on work processes, motivations to create, and artistic self-understandings. These are known as Poetikvorlesungen in Germany, Austria, and Switzerland, but do not have a distinct label outside of the German-speaking literary scene. The article departs from the observation that making connections and forming artistic associations are key components of these lectures as this feature can be found frequently. It first outlines genre characteristics of lectures on the arts with particular focus on networks that such lectures participate in. Emblematic examples are the Frankfurt Lectures on Poetics by the German novelist Daniel Kehlmann (given in 2014) and the Tanner Lectures by the Canadian writer and critic Hugh Kenner (given in 1999). Kehlmann depicts his artistic influences, sources of inspiration, and references to existing contexts by pretending to summon spirits, a rhetorical gesture akin to a necromancy. Kenner calls networks that evolve from making such connections »elsewhere communities«. The essay explores what a network-oriented analysis of this genre could look like by turning to the Norton Lectures by the German filmmaker Wim Wenders (given in 2018). These serve to test two different analytical approaches. The article relies both on network visualization and on tracing of networks according to Actor-Network-Theory (ANT). The article thus offers both a graphic representation of references from Wenders’ lectures and a textual tracing of associations according to the methodology outlined by Latour. An important finding is that network analysis, no matter its method, offers exciting opportunities in revealing the significance of relations and associations. Network analysis challenges literary scholars to revisit and rethink intertextuality, intermediality, or intersubjectivity and invites them to unearth a new diversity of actors. The article argues that graphic visualizations done with computational methods can be instrumental in the immediacy with which they communicate findings, especially when it comes to findings from a large corpus. The article then moves on to explore the nuances and theoretical implications that ANT offers in addition to the network visualization. A major appeal of ANT is, so the argument, that it offers insight into processes that are central to literary criticism: translation, mediation, and the evolving dynamics that stem from them. Since lectures on poetics are located at the intersection of artistic creation, authorial self-presentation, and criticism, they offer a particularly good window into the interactions of poiesis and aesthesis, of creative work and its dependency on the reception of other artworks. The argument concludes by suggesting that network analysis invites theorists to reconceptualize reader-response theory toward what scholars call comparative media studies. Finally, the article briefly considers lectures on the arts not as objects of criticism, but as a blueprint for scholarship that looks to re-envision literary criticism and its engagement of the reading public.
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Phonethibsavads, Anthony, Sophia Bender, and Kylie Peppler. "Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces." Creativity. Theories – Research - Applications 6, no. 1 (June 1, 2019): 4–19. http://dx.doi.org/10.1515/ctra-2019-0001.
Анотація:
AbstractObjective: This study examines the validity of Amabile’s (1982) consensual assessment technique in measuring creativity in a warm-up activity in fourth-grade drama classrooms and compares the scores between warm-ups occurring in a blackbox theater setting (experimental) vs. a traditional classroom (control). Method: Four professional actors viewed 60 clips of children’s drama warm-ups and scored for creativity, using a 5-point scale. After establishing sufficient inter-rater reliability (IRR), we used the average scores of the raters to compare creativity between the experimental and control groups. Results: The raters demonstrated high agreement, with a coefficient alpha estimate of .819. An independent samples t-test between the experimental and control groups was significant at p < .001, with the experimental group receiving higher scores. Conclusions: The results suggested that creativity was significantly higher in the experimental group, and the context correlated with creativity, despite neither group having yet received drama instruction at that time. This paper presents discussions about validity, opinions of the raters, possible implications for the activity itself, and possible effect of setting on creativity.
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Fredriksson, Martin. "Authors, Inventors and Entrepreneurs: Intellectual Property and Actors of Extraction." Open Cultural Studies 2, no. 1 (November 1, 2018): 319–29. http://dx.doi.org/10.1515/culture-2018-0029.
Анотація:
AbstractThe ideas and ideals of authorship and the discourse on property rights that emerged in parallel since the 18thcentury have come to form the bedrock of copyright law. Critical copyright scholars argue that this construction of authorship and ownership contributes to individualisation and privatisation of artistic works that disregards the collective aspects of creativity. It also embodies a certain kind of authorial character-or “author function” as Michel Foucault puts it-imbued with racial and gendered powers and privileges. While the gendered and racialised biases of intellectual property rights are well documented within copyright research, the commodification of ideas and cultural expressions relies on individualisation of creativity that is significant not only to the cultural economy but also to the 20th-century notion of the entrepreneur as the protagonist of capitalism. This article relates the idea of the entrepreneur to the deconstruction of authorship that was initiated by Foucault and Roland Barthes in the late 1960s, and the critique of an author-centred IPR regime developed by law scholars in the 1990s. It asks if and how the deconstruction of the author as a cultural and ideological persona that underpins the privatisation of immaterial resources can help us understand the construction and function of the entrepreneur in extractive capitalism.
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Azzahra, Cika Irlia, Suyanto Suyanto, and Elmira Febri Darmayanti. "PENGARUH KREATIVITAS, MODAL USAHA, DIVERSIFIKASI PRODUK DAN KEBIJAKAN PEMERINTAH TERHADAP KEBERLANJUTAN BISNIS UMKM (STUDI PADA UMKM BIDANG PERDAGANGAN DI KELURAHAN IRINGMULYO KOTA METRO)." Jurnal Akuntansi AKTIVA 2, no. 1 (October 13, 2021): 104–12. http://dx.doi.org/10.24127/akuntansi.v2i1.903.
Анотація:
This study aimed to examine the influence of creativity, business capital, product diversification and government policies on business sustainability in the Trade Sector UMKM in Iringmulyo Village, Metro City. The sampling method used was convenience sampling, until a total sample of 86 business actors was obtained. This study used a quantitative approach. The data used are primary data from the results of distributing questionnaires. The data were then processed with IBM Statistics SPSS 24. The results of this study indicated that partially creativity had an effect on business sustainability, business capital had no effect on business sustainability, product diversification had an effect on business sustainability, government policies affected business sustainability as well as simultaneously creativity, capital. business, product diversification and government policies affected business sustainability.Key words: creativity; business Capital; product diversification; government policy; UMKM business continuity
34
SCHMIDT, SERJE, DUSAN SCHREIBER, CRISTIANO MAX PEREIRA PINHEIRO, and MARIA CRISTINA BOHNENBERGER. "THE MODERATING ROLE OF CREATIVITY IN THE RELATION BETWEEN COLLABORATION AND PERFORMANCE." International Journal of Innovation Management 24, no. 06 (September 5, 2019): 2050051. http://dx.doi.org/10.1142/s1363919620500516.
Анотація:
Within the dynamic environment of the recent creative industries, collaboration performs a central role. The literature has consistently explored the interaction between creative professionals with three types of actors: (1) the clients or public; (2) co-workers and; (3) business agents. The relative importance of each actor in the face of creative activities, however, remains theoretically fragmented and empirically under-researched. Therefore, this study aims to address the following question: what is the role of creativity in the relation between the type of partner to which the collaborative efforts are directed and the performance factors? To answer that question, a quantitative study comparing university students in more creative-intensive and less creative-intensive occupations was performed. An exploratory structural equations modelling (SEM) was developed for that purpose. Performance factors of both groups seem to follow similar priorities. Their collaborative efforts, however, show different patterns, supporting the conclusion that creativity is indeed related to different collaboration strategies. Although collaboration with co-workers seems to be developed similarly between more creative and less creative professionals, that with clients and business agents showed different results.
35
Soda, Giuseppe, Diego Stea, and Torben Pedersen. "Network Structure, Collaborative Context, and Individual Creativity." Journal of Management 45, no. 4 (August 9, 2017): 1739–65. http://dx.doi.org/10.1177/0149206317724509.
Анотація:
The debate on whether bonding or bridging ties are more beneficial for acquiring knowledge that is conducive to individual creativity has mostly overlooked the context in which such ties are formed. We challenge the widespread assumption that closed, heavily bonded networks imply a collaborative attitude on the part of the embedded actors and propose that the level of collaboration in a network can be independent from that network’s structural characteristics, such that it moderates the effects of closed and brokering network positions on the acquisition of knowledge that supports creativity. Individuals embedded in closed networks acquire more knowledge and become more creative when the level of collaboration in their network is high. Brokers who arbitrage information across disconnected contacts acquire more knowledge and become more creative when collaboration is low. An analysis of employee-level, single-firm data supports these ideas.
36
Cynthia, Cindy Anisya, Devania Widya, Diana Silaswara, Puti Lenggo Ginny, Metta Susanti, Suryadi Winata, and Limajatini. "Implementasi Strategi CRM dan Penggunaan Digital Marketing pada UMKM di Credit Union Madani Kotabumi Tangerang." Abdi Dharma 2, no. 2 (October 24, 2022): 89–92. http://dx.doi.org/10.31253/ad.v2i2.1732.
Анотація:
This student creativity development activity was carried out based on the collaboration between the Faculty of Business, Buddhi Dharma University and KSP Madani which was held at KSP Madani Credit Union Kotabumi, Tangerang City. Banten Province. The training participants are UMKM members of cooperatives, and the activities are carried out within a period of three months, with training activities planned in the form of focus group discussions, material presentations and interactive question-and-answer between the giver of materials and training and mentoring participants.
The material provided was in accordance with the needs requested by KSP Madani at the beginning of the meeting, namely knowledge and implementation of Customer Relationship Management (CRM) for UMKM actors under the guidance of KSP Credit Union Madani. Participants from the training are members of the Madani cooperative, which are UMKM business actors in the Culinary and Services sector
The output plan of this student creativity development activity is in the form of improving the performance of cooperative management.
37
Schmitt, Natalie Crohn. "Stanislavski, Creativity, and the Unconscious." New Theatre Quarterly 2, no. 8 (November 1986): 345–51. http://dx.doi.org/10.1017/s0266464x00002359.
Анотація:
As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski's indebtedness to the psychological theories of Théodule Armand Ribot, which interpreted all human behaviour in terms of ‘an aim towards fixed ends’. One of the reasons for the decline in influence of Stanislavski's system thus reflects, she argues, the growing belief that creativity is ‘process’, its ends ‘continually redefined by the actions, and vice-versa’ – and the author suggests examples of such a non-Stanislavskian approach among contemporary theatre companies. Natalie Crohn Schmitt is associate professor of theatre in the University of Illinois at Chicago. Her earlier essays have appeared in a wide range of journals, and she has just completed a full-length study, Actors on the Stage of Life. The present paper was written under a grant from the National Endowment for the Humanities.
38
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.
Анотація:
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.
39
Leschziner, Vanina, and Gordon Brett. "Beyond Two Minds: Cognitive, Embodied, and Evaluative Processes in Creativity." Social Psychology Quarterly 82, no. 4 (August 20, 2019): 340–66. http://dx.doi.org/10.1177/0190272519851791.
Анотація:
Scholars in sociology and social psychology typically represent creativity as an imaginative and deliberate mental activity. Such a perspective has led to a view of creativity as disconnected from the body and the senses as well as from nonanalytic cognition. In this article, we demonstrate that creativity is more grounded in bodily and sensory experience and more reliant on a combination of cognitive processes than has been typically recognized. We use literature on social cognition and embodiment to build our arguments, specifically, the embodied simulation perspective and tripartite process models. We draw from data on elite chefs to show how actors rely on embodied simulations, continually switch between heuristic and analytical thinking, and monitor and control their cognitive processing during the creative process. We outline the implications of this study for the understanding of creativity and extant models of cognition and action more generally.
40
Mróz, Barbara. "Can an artist be mature? Rorschach studies of prominent Polish actors." Current Problems of Psychiatry 25 (April 17, 2024): 61–67. http://dx.doi.org/10.12923/2353-8627/2024-0006.
Анотація:
Introduction: The peculiarities of being a prominent actor - the unity of the person and the work, recognition and significance - have made possible new and relevant from the point of view of personality and creativity psychology to analyze using the Rorschach method. Objective: The purpose of the study was to assess the personality maturity, type of experiencing, social contacts of prominent Polish actors by means of a qualitative method. Method: The Rorschach Test according to the American signing system of Z. Piotrowski. The study group consisted of 120 Polish actors: 40 outstanding Polish actors, also known in the world from international films or received awards (group A), 40 actors working in theaters in large cities (B), 40 actors employed in theaters in small cities(C). The groups were matched for age (M= 44.7 years, SD 9.31). Results: Analysis of the level of differences in maturity proved statistically significant. The study showed indicators of rivalry, which can stimulate aggressive behavior, for example, but the overall profile indicates good adaptation and control of emotions. The psychogram was dominated by signatures indicating an ambidextrous, differentiated type of experiencing,signifying creative imagination, a tendency to reflect, which is at the same time balanced by external activity,good adaptation. Discussion: The respondents' life activity is characterized by decisiveness, with a tinge of aggression. This attitude can be a cause conflicts with people who may be perceived as rivals, the results of other researchers also indicate. Conclusions: The study of prominent actors using the Rorschach test was conducted for the first time on such a scale, providing many valuable findings. Keywords: Rorschach Test, type of experiencing, emotional sphere, interpersonal relations
41
Ruru, Li. "The Market, Ideology, and Convention: Jingju Performers' Creativity in the 21st Century." TDR/The Drama Review 56, no. 2 (June 2012): 131–51. http://dx.doi.org/10.1162/dram_a_00171.
Анотація:
Driven by the imperatives of a changing society and the pressures of new technology, China's theatre is undergoing rapid transformation. The work of two leading Shanghai actors, Shang Changrong and Shi Yihong, reveals how jingju (Beijing Opera) navigates traditional conventions and emerging market challenges, negotiating a future for the art form.
42
Bishop, Alex J., Tanya Finchum, and Julie Pearson-Littlethunder. "PORTRAYAL OF A CENTENARIAN: EXPLORING ACTOR INSIGHTS ON AGING AND LONGEVITY." Innovation in Aging 3, Supplement_1 (November 2019): S306—S307. http://dx.doi.org/10.1093/geroni/igz038.1123.
Анотація:
Abstract Data for this study originated the Oklahoma 100 Year Life Project. A total N = 7 volunteer actors (n = 5 women; n = 2 men) were recruited to participant as actors to play the role of centenarians in a living history play based on oral historical narratives. Actors participated in preliminary (prior to play performance) and post (after play performance) focus group sessions. Focus group questions addressed four key ideas: (1) Perceptions of aging and human longevity; (2) Loss and decline in aging; (3) Narrative storytelling and; (4) Personal life goal(s). Qualitative content analysis was performed to assess general thematic evidence stemming from actor perspectives. Four predominant themes emerged suggestive of adaptation in actor perceptions about human aging and longevity. These themes included: (1.) Purpose seeking (e.g. "It was interesting to see how much you can get out of life."); (2.) Age-embodiment (e.g., “I really wanted to focus on my facial movements and the way I talked”); (3.) Creative curiosity (e.g., “It takes a little bit of creativity. . . someone who has curiosity”); and (4.) Self-actualization (e.g., “You just think it’s not going to happen to me. . . and then you’re like. . . I am probably going to live to 100 now.”). Results have implications relative to how oral historical narratives can be used to enhance the personification of aging on stage, as well as demystify personal myths about longevity. Applications for use within educational and community settings for theatrical performances will be shared.
43
Monteiro Crespo de Almeida, Leonardo. "Ordem, desordem e a criatividade judicial: relações entre teoria do direito e filosofia processual." Revista da Faculdade de Direito da UFG 42, no. 3 (January 19, 2019): 130–54. http://dx.doi.org/10.5216/rfd.v42i3.55027.
Анотація:
O objetivo do presente artigo almeja conceber uma noção de criatividade judicial mais ampla, não estando restrita nem aos atos nem às prerrogativas de atores jurídicos particulares. Para tanto, o artigo adota a filosofia processual como marco teórico e conceitual com o intuito de interrogar a maneira pela qual a criatividade é concebida a partir de uma concepção de realidade jurídica que privilegia a ordem, a estabilidade e a previsibilidade frente ao vir-a-ser, à mudança e à desordem. A pesquisa adota como fio condutor a inserção da criatividade na dinâmica de reorganização contínua da ordem jurídica com o intuito de dissociá-la da produção normativa restrita a determinados órgãos e atores jurídicos: categorias e teorias jurídicas não apenas expressam a criatividade judicial, como trazem consigo o potencial para a transformação e redefinição dessas práticas. A hipótese adotada consiste em apontar como uma concepção mais ampla de criatividade possibilita repensar a maneira pela qual a ordem jurídica é constantemente transformada por novas questões suscitadas no campo social.
Abstract
This present article intends to conceive a broad notion of legal creativity, one which is not restricted to the acts nor the functional powers of specific legal actors. The article adopts processual philosophy as its theoretical and conceptual framework to expose how the usual conception of legal creativity is entrenched in an ontological conception of reality that privileges stability, order and security over change, disorder and becoming. This research, however, inscribers creativity within the dynamic of continuous reorganization of the legal order so creativity could be dissociated with the idea of normative production narrowly associated with legal actors: legal theories and categories not only expresses a kind of legal creativity, they also have the potential to transform and redefine common accepted practices within the legal context. The chief hypothesis of this article is that a broader conception of creativity would be relevant to rethink how legal order as constantly transformed by new concerns that emerges within the social field.
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Neam, Atef. "LEADER AND COMMUNITY DEVELOPMENT." EPH - International Journal of Humanities and Social Science 3, no. 1 (February 6, 2018): 14–17. http://dx.doi.org/10.53555/eijhss.v3i1.34.
Анотація:
This article focuses on the role of the social leader in developing creativity among the members of society. He asks: When community leaders start energy projects, what kinds of skills and knowledge practices do they use to enhance individual creativity? Individual creations are usually motivated by social and sustainable motives, and developed by civil society groups. Based on mixed approaches approaches including research interviews and field visits, the article is based on previous literature on community leadership, creativity by individual and specialized literature. Community leadership is analyzed through two deep states of social energy in the state. Research results show that social leadership can help develop creativity, which works in niches and requires care. Community leadership benefits from being an integral part of social networks, common vision and decision-making, but preexisting skills and implicit knowledge also play a role. Community leaders can also help build a niche by working closely with intermediate actors
45
Jensen, Sisse Siggaard. "Actors and Their Use of Avatars as Personal Mediators: An empirical study of avatar-based sense-makings and communication practices in the virtual worlds of EverQuest and Second Life." MedieKultur: Journal of media and communication research 25, no. 47 (December 10, 2009): 15. http://dx.doi.org/10.7146/mediekultur.v25i47.1403.
Анотація:
Over the past five years, millions of actors have found it meaningful to move in and settle down in the Metaverse, for example, as an adventurous shaman in an advanced role-playing game such as EverQuest or as a businesswoman in the social world of Second Life. In this article, the main question therefore is: how do the actors and gamers of the two types of virtual worlds make sense of their avatars and the worlds when they act and communicate using their avatars as personal mediators? Participatory observations inspired by virtual ethnography and in-depth video-interviews were conducted to answer this question. The analysis of the substantial amount of empirical data draws on the concepts of intermediaries and mediators from actor-network theory (Latour, 1991, 1998, 2005), Sense-Making methodology (Dervin et al., 2003), social psychology (Yee, 2006), and experimental economics (Bloomfield & Rennekamp, 2008). It is shown how the actors create a personal story and history of their avatar that transforms them into the mediators of being in the virtual world, and also how the avatars act as the mediators that transform the actors themselves. To identify, understand, and keep track of the many transformations of meaning, Nick Yee’s motivation factors (relationships, immersion, achievement, escapism and manipulation) have proven helpful also to the analysis of a social world like Second Life. In future studies, it is recommended that we study further the sense-makings of motivation factors such as creativity and experimentation.
46
Petrov, Viktor V., and Natalia M. Zavarnitsyna. "Inclusive theatre and its role in the sociocultural space (on the problem of specifics and artistic language)." Sphere of culture 3, no. 4 (March 6, 2023): 55–67. http://dx.doi.org/10.48164/2713-301x_2022_10_55.
Анотація:
The article deals with topical issues of inclusive theatrical creativity, defines the role of a theatre for special people in the sociocultural space. Performing arts are seen as a means of integrating people with developmental disorders into a full life and cultural environment. The authors consider various aspects of inclusive creativity, the means of expression and the artistic language of the theatre where actors with some disabilities (mental disorders, Down syndrome and others) perform. The results of the study can be used in the staging of an inclusive performance and in the training process of a special performer.
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Polletta, Francesca. "Best Friends Forever: Relationship Schemas, Organizational Forms, and Institutional Change." Organization Theory 3, no. 1 (January 2022): 263178772110725. http://dx.doi.org/10.1177/26317877211072550.
Анотація:
Scholars have drawn on cultural concepts to demonstrate the capacity of organizational actors to transform existing institutional scripts and invent new ones. When it comes to accounting for the limits on such change, however, scholars have tended to fall back on structural dynamics. I argue that paying attention to the symbolic analogies and oppositions in terms of which institutional schemas have meaning can shed light on the role of cultural constraints alongside creativity in institutional change. In this article, I investigate schemas of personal relationships. By transposing the obligations and expectations of a familiar relationship from one kind of interaction to another—by treating employees like members of a sports team or a research collaborative, for example—organizational actors can bring about new habits of interaction and create new organizational forms. But people’s emotional investment in the integrity of a relationship script may make them unwilling to modify the script when it proves impractical. Shared relationship schemas are thus a source of creativity and constraint. I show that understanding this dialectic accounts for several puzzling features of the diffusion of participatory democratic organizational forms among progressive movements in the late 1960s: notably, that even in the absence of a legitimated model of participatory democracy, activists adopted a similar form of organization, and that, for all their creativity, activists were unable to modify that form to cope with the inequalities it produced.
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KIM, Jisuh, and Eun Young JUNG. "A Reflective Analysis on High School Art Lessons Using Generative AI Focused on Critical Recognition and Creative Use of AI Technology." Society for Art Education of Korea 88 (December 1, 2023): 55–84. http://dx.doi.org/10.25297/aer.2023.88.55.
Анотація:
This study aims to critically examine the use of generative AI in art education and address future directions regarding it in the upcoming era of AI. The art lessons using generative AI were implemented for high school students. The educational effects of the lessons are as follows. First, students’ AI literacy sig-nificantly improved as they delved into the mechanisms of generative AI and engaged in critical recognition. Second, students were able to creatively utilize the potential of AI technology to express artistic themes effectively. Third, an active interaction between human and AI actors allowed for a significant leap in students’ creativity. Fourth, the lessons broadened students’ perspectives on contemporary art and their creative art process. Consequently, this study offers valuable insights, proposing detailed art lessons that enable students to critically recognize generative AI at various levels and develop their competencies to creatively utilize AI technology.
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Bach1, Laurent, Patrick Cohendet2, Julien Pénin3, and Laurent Simon4. "Creative industries and the IPR dilemma between appropriation and creation: some insights from the videogame and music industries." Management international 14, no. 3 (September 3, 2010): 59–72. http://dx.doi.org/10.7202/044293ar.
Анотація:
Intellectual property rights (IPR) play a strategic role in creative industries. Defined as a collective process, creativity involves actors with contradictory IPR needs. This leads to an “IPR dilemna”. Firms are looking into appropriating creative work and prevent imitation; whereas creative communities need a weak IPR to combine past work and generate novelty. It becomes problematic for individuals to find themselves between these two. As a result, actors are developing specific IPR arrangements (e.g. open source and creative commons practices) to preserve the balance between appropriation and openness allowing creation. Two creative industries are used as illustrations: music and video-games.
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Moeran, Brian. "The organization of creativity in Japanese advertising production." Human Relations 62, no. 7 (June 19, 2009): 963–85. http://dx.doi.org/10.1177/0018726709335541.
Анотація:
This article makes use of the results of ethnographic participant observation to analyze how creativity is organized in the production of Japanese advertising. An ad campaign, like many other creative products, is produced by `motley crews' of personnel from both within an agency contracted to conceptualize the campaign on behalf of its client (an account team) and freelance professionals hired to realize the account team's creative concept (a production team). The concepts of frame analysis and art worlds are used to analyze the symbolic space of the studio and the transformations that occur there, while that of field enables a comparative analysis of advertising's `space of possibles' in which different actors position themselves and their clients' products. Creativity is used to establish relations of power among advertising personnel, as well as over consumers, by means of the constant (re)positioning of advertisers' products. This is the function of advertising's motley crew.