798:创意上游 产业下游

搞艺术的和搞商业的可以不必剑拔弩张,它们之间最大的交集就是对创意的追求。北京大力诱发创意产业的诚意至少可以从一件事上看出来。去年,争议已久的798艺术区(以下简称为“798”)被“钦定”为创意产业园区。除了798之外,北京目前被“钦定”为文化艺术创意产业园区的还     

书讯

新书简介《摄影的艺术》出版社:人民邮电出版社作者:[美]BruceBarnbaum译者:樊智毅页码:356页定价:118.00元《摄影的艺术》《商业摄影与创意》《美女人像摄影宝典》《红之外——范霖红外摄影》     

文化创意产业的人才开发与管理

影响文化创意产业发展的因素有很多,文化创意产业的发展除了要获得国家政策支持之外,尤其要注意人力资本的投入,人力资本作为推动文化创意产业发展核心要素,将在文化创意产业发展过程中起决定性的作用。本文从文化创意人才的特征、人才的重要性、人才的开发及人才的管理方面进行阐述。     

城市创意产业园景观重塑方法研究——以北京798为例

创意产业园景观建设是城市发展整体战略的重要组成部分,北京798艺术区是国际艺术文化产业园建设与发展的典范,对我国其他城市创意产业园景观重塑具有很好的示范作用。基于此,文章通过追溯北京798艺术区的发展历史,重点论述历史与现实相结合的方法在重塑城市创意产业园景观方面的重要作用,为我国城市创意产业园景观重塑提供参考与借鉴,进而推动城市整体发展。     

iPad短期内竞争对手难以超越

苹果新iPad发布让很对朋友感到失望．因为除了硬件配置的提升．其他方面的创新实在不多．这也难为了库克,现在全世界都在为新版iPad出主意、想创意．要想在这些创意之外拿出令人惊叹的产品实在很难。     

现代招贴的创造性思维

现代设计艺术的发展,愈来愈要求设计师具有强烈的创新意识,创造性思维。但在这个到处充斥着创意术语而又缺乏创意的环境下,如何创造创意?也许我们应该改变的是我们的思维,只有具有创造性思维才能做出独创性的作品来。     

创意产业世界巡礼

一年前，当《Computer Arts数码艺术》杂志在国内杂志媒体中首先提出“创意产业”、“创意经济”乃至“创意产业”、“创意经济”乃至“创意中国”的概念时，世界范围内的创意思潮已经风起云涌，蔚然壮观。     

服装设计创意思维训练的教学研究

关于创意思维拓展训练的探索遍及于各类创造性工作中,但服装设计的创意方式又有其专业特征的独特性,如何启发、建立,以至最终形成创意思维的方法一直以来是服装设计课程努力要解决的问题。在教育学、心理学的最新理念下,针对服饰教育中遇到的问题,进行深度思考,参考国外服装设计院校先进的教学观念与模式,经过长期的教学实践,总结出一套服装设计创意训练的教学方法。在此教学模式下,虽不能培养出艺术天才,但能培训出合格的从业者,完成艺术教育的初始目标。     

未来数字艺术教育从中小学抓起——北京景山学校“创意未来——Adobe数字艺术之星”示范基地授牌仪式隆重举行

近日，北京景山学校与Adobe公司联合举行的“创意未来——Adobe数字艺术之星”示范基地授仪式在北京景山学校隆重召开，此举标志着北京景山学校正式成为Adobe公司在中国的第一家“Adobe数字艺术基地”。Adobe公司希望通过“创意未来——Adobe数字艺术之星”计划，帮助我国中小学更好地开设数字艺术课程，从小培     

匠心时光

拥有百万资产的大型公司和设计师之间并不能总是融洽相处，很容易以妥协、过度宣传或者利润过低而收场，这动态的场景就是创意和商业之间的挣扎。因此，在上世纪来，意大利的时尚品牌贝纳通（Benetton）设立了Fabrica—它自己位于威尼靳之外的研究中心和创意中心—在没有先例的情况下开始了创意之路上的新探索。     

Antecedents of Team Creativity: An Examination of Team Emotional Intelligence,Team Trust and Collaborative Culture

Teams represent a dominant approach to getting work done in a business environment. Creativity enables teams to solve problems and leverage opportunities through the integration of divergent thoughts and perspectives. Prior research indicates that a collaborative culture, which affects how team members interact and work together, is a critical antecedent of team creativity. This study explores other antecedents of team creativity, namely, team emotional intelligence and team trust, and investigates the relationships among these precursors to creative effort. Using a survey of 82 student teams at a large university in the northeast United States, our findings suggest that team emotional intelligence promotes team trust. Trust, in turn, fosters a collaborative culture which enhances the creativity of the team. Cognitive trust also moderates the relationship between collaborative culture and team creativity. Implications of these results for managers and academics are discussed.     

Letter from America (With respectful acknowledgement to Alistair Cooke)

In this new feature, we invite creativity and innovation specialists from the American continent to share their thoughts about current issues in the field. This feature is written by Stan Gryskiewicz, Senior Fellow in Creativity and Innovation, Center for Creative Leadership, Greensboro, North Carolina.     

Creativity and Work Environment in a High‐Tech Context

Creativity is essential for success in business, especially in the high‐tech field where knowledge is the key resource. This study addresses the ways in which creativity is fostered in high‐tech organizations. It melds the different perspectives on organizational creativity into one six‐dimensional model that defines the creativity work environment. Those dimensions are: work atmosphere; vertical collaboration; autonomy/freedom; respect; alignment; and lateral collaboration. They are valid, reliable predictors of the creativity achieved in high‐tech organizations.     

Factors Influencing Creativity in Virtual Design Teams: An Interplay between Technology,Teams and Individuals

Creativity is a topic of interest across numerous disciplines and areas of study. Creativity constitutes a challenging aspect of engineering design, and scholars in the field of management claim that the increase in virtual teamwork calls for research as to how virtual configurations alter some of the management practices based on the collocated workplace. By reviewing the different literatures, we posit a knowledge gap regarding creativity in the virtual design context, where varying degrees of virtuality are likely to exert an influence on creativity. In our quest to start bridging this gap, we pursued an exploratory case study with a student‐based virtual design team project, known as the European Global Product Realization (EGPR). Thirty‐nine interview extracts, covering most participants, along with non‐participant observation and document review, gave us insights into the nature of the project, the participants' perceptions of creativity, and their experience of designing in virtual teams. In all, our study unearths and discusses a number of factors – and the extent to which – they are found to influence creativity in virtual design teams. The study has cross‐domain relevance from those interested in the management of virtual teams through to those looking at creativity and design.     

Network centrality,knowledge searching and creativity: The role of domain

This study aims to determine the role of knowledge searching on creativity in the fields of science research and technology development. Creativity is a process of knowledge combination, thus internal and external knowledge searching is important for creativity in both fields, particularly in the open innovation age. However, the nature of the work across these fields is different. While science research aims to solve theoretical problems and generate new knowledge, technology development aims to apply new knowledge to solve practical problems. Compared to science research, technology development has clear task goals, which make it easier to identify the related external knowledge and integrate this knowledge and in turn improve employee creativity. Thus, employees' attention to external knowledge as well as the influence of external knowledge on creativity might be different in the two fields. Results based on an empirical study of 211 employees from science research and 257 employees from technology development showed that external knowledge searching increased employee creativity in the field of technology development but not in science research. Furthermore, employees' centrality in the intra‐team problem‐solving network moderated the relationship between external knowledge searching and creativity in the science research field. Suggestions about employee creativity management in science and technology fields are discussed.     

创意是怎么炼成的

随着市场经济的发展,艺术设计已经成为当今商业城市中的一个不可或缺的组成部分。而创意正是设计的灵魂。创意是一种与众不同,别出心裁的奇特品质。创意的生成需要灵活运用各种思维方式,从客观生活中积累广泛的知识,并借助想象力无限幻妙的特质进行信息重构。我们要深刻明确创作意图和方向,领会创意的实际内涵,使创意和设计手法有机的结合起来,最终达到我们的目的。     

剪纸艺术体现奥运精神

笔者在创意上尝试着将传统民间剪纸艺术和活泼可爱的奥运福娃完美有机的结合,表现了中国奥林匹克运动会的浓浓中国特色,创造性的将剪纸艺术以"意"化"型",将海报艺术从西方的"视觉至上"的局限中跳出来,把传统民间剪纸的形式美、寓意美、智慧美和精神美逐步融入到奥运海报之中。     

Interview with the drone: experimenting with post-anthropocentric art practice

ABSTRACT

The main idea behind the development of the art project discussed in this artistic contribution, called MNEMODRONE, is to have people share private memories with a drone and then use those memories to create an artificial intelligence. Is it possible for a machine to act based on collective memories? Although there is not a definitive answer, I discuss the ideas behind the project: the problem of quantifying nonhuman forms of consciousness, a model for the drone's artificial intelligence and the advantages of a post-anthropocentric artistic investigation. The second half of my contribution discusses the limits of post-anthropocentric creativity and proceeds more speculatively, proposing a theoretical model of metamorphosis that could be useful for understanding technology and also for artificial intelligent systems to understand humans. My contribution advocates for a creative analysis of future scenarios, both technological and cultural, beyond the boundaries of traditional methodologies. I conclude with a fictional interview that could eventually take place between an interviewer and MNEMODRONE. This fictional interview allows the artwork to speak for itself, and is based on the data collected by the drone in its first year of activities, mimicking its discursive capabilities once the artificial intelligence is fully developed.     

Creativity – A Volatile Key of Success? Creativity in New Drug Development

This paper presents a study of successful and creative projects in the pharmaceutical industry. Creativity is here defined as the ability to bring forth a new product within a specific domain of knowledge, namely in gastrointestinal, cardiovascular and oncological medicine. The paper, being based on interviews with 18 of the most leading pre‐clinical, clinical and pharmaceutical researchers at former AB Hässle and ICI Pharmaceutical Division, suggests that if creativity is to be managed as an organizational resource, there are at least nine facets that need to be considered. These nine facets range from the most practical aspects to issues of project culture and human faculties such as curiosity and joy. The paper concludes that there is such a thing as creativity management but also claims that creativity is complicated to manage as an organizational resource, since it is based on both tight control and clear objectives at the same time, as there must be space for experimentation, discussions and what could be called non‐linear thinking.     

Quantifying co-creative writing experiences

Collaboration with artificial intelligence (AI) is a growing trend even in the field of creativity. This paper examines which quantitative metrics can be used to comparatively analyse human-computer co-creativity with children. To study this question, 24 schoolchildren of age 10–11 wrote a poem with three co-creative poetry writing processes: a human-computer, a human-human, and a human-human-computer process. The computational participant in the processes was an AI-based application called the Poetry Machine. The children were asked to evaluate their user experience with a 5-point Likert-type questionnaire after each writing process and a comparative questionnaire after finishing all processes. The metrics used in the evaluation were immediate fun, long-term enjoyment, creativity, self-expression, outcome satisfaction, ease of starting and finishing writing, quality of ideas and support from others, and ownership.

Significant differences were found in fun, long-term enjoyment, quality of ideas, support, and ownership. The high number of statistically relevant results was enabled by exposing all participants to all writing processes, and the comparative questionnaire. The human-human-computer process was evaluated the best in long-term enjoyment and the human-computer process the weakest in support and idea quality. Creativity and ease of finishing writing turned out to be outlining metrics for the co-creative processes.