This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective (...) lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

One of the foremost religious and social philosophers of the twentieth century, Martin Buber also wrote extensively on sociological subjects, particularly as these affected his philosophical concerns. Collected here, these writings offer essential insights into the human condition as it is expressed in culture and society. Buber's central focus in his sociological work is the relation between social interaction, or intersubjectivity, and the process of human creativity. Specifically, Buber seeks to define the nature and conditions of creativity, the (...) conditions of authentic intersubjective social relations that nurture creativity in society and culture. He attempts to identify situations favorable to creativity that he believes exist to some extent in all cultures, though their fullest development occurs only rarely. Buber considers the combination of open dialogue between human and human and a dialogue between man and God to be necessary for the crystallization of the common discourse that is essential for holding a free, just, and open society together. Important for an understanding of Buber's thought, these writings—touching on education, religion, the state, and charismatic leadership—will be of profound value to students of sociology, philosophy, and religion. (shrink)

Muhammadiyah and NU are two well-known socio-religious organizations in the world over the years. In spite of the fact that both organizations are characterized as religious social movement, each of them has their individual creativity, which is called al-thaqafat in their motions. This study aims to identify the organization of Muhammadiyah-NU as a religious heritage,which affects other religious organizations both in Indonesia and other countries. This research employed a qualitative approach by using historical method to obtain the actual reality. (...) For data collection, literature reviews,documentation and interviews were also conducted to gather empiric facts.The researchers interviewed public figures of the organizations. Al-thaqafat becomes part of elements rather than cultivated culture, which is understood as habitual patterns of human creativity, including a religious organization. Both organizations are the result of an al-thaqafat religious creativity created by each founder and can be pursued into the world monumental heritage. Without denying, the existence of al-thaqafat creativity will continue to enlighten the world civilization. Therefore, Muhammadiyah and NU have been doing and keeping continuing al-thaqafat creativity enlightenment through their charitable organizations and institutions. The result is profoundly proven so that they have been in an existence more than a century. (shrink)

The BBC is an exemplary institution in the government of culture. In the context of the neo-liberalism of the 1990s it became also a key experimental site for the development of a new culture of government, one in which notions of markets, efficiency, accountability and audit were translated into the public sector. The focus of this paper is an analysis, based on ethnographic research, of the BBC's culture of markets, accountability and audit in the mid to late nineties. Indebted in (...) part to the Foucauldian concern with the relations between forms of political rationality and specific technologies of government, the paper charts the substance and the anti-creative effects of these techniques. But it stresses also their contestability and negotiability, how they evoke ambivalance and coexist with diverse forms of resistance. In particular, through the case of the BBC, the paper sketches the contours of a sociology of reflexivity based on a more differentiated account of reflexivity than is found in the speculative, often normatively-directed writings of Beck, Giddens and Lash. It points to the layering of reflexivities in and around the contemporary BBC, and to the competing and antagonistic reflexivities that may inhabit any social space. (shrink)

1. This paper aims at investigating how the cross-cultural chasm can be meaningfully connected with the discussion on creativity and imagination. To examine cross-cultural creativity and imaginatio...

The article examines the culture of life-creation as a phenomenon of personal existence in the context of globalization and civilizational transformations of the modern world, covering the socio-cultural, economic, spiritual-value and technological spheres. The relevance of the study is due to the growing need of modern man for conscious self-creation, reflective understanding of his own life experience, and the formation of an individual life strategy in conditions of postmodern uncertainty, fragmentation of meanings, and changes in axiological guidelines. The focus (...) of scientific attention is on the problem of the culture of life creativity, which is interpreted as an integrative characteristic of the personality and combines value-ideological, activity-creative, and reflexive-semantic components. The author emphasizes that the modern humanitarian paradigm – in philosophy, psychology, and pedagogy – requires a rethinking of creativity not only as a professional or artistic competence, but as a universal way of being human, aimed at a harmonious combination of freedom, responsibility, and self-realization. The purpose of the study is to theoretically substantiate the culture of life-creativity as a holistic phenomenon that forms the basis for self-determination, moral and value choices, and the construction of life meaning. The methodological basis of the article is formed by cultural, phenomenological, person-centered and psychological approaches, which ensure the interdisciplinary nature of the analysis. In the process of research, the leading scientific concepts of life creation were generalized, and a conceptual and categorical basis was formed for further empirical explorations. The result of the study was the identification of key components of the culture of life creativity as: the ability to make value choices, reflect on life, self-determination, as well as the ability to create meaning and transform the environment. The importance of creating educational and social conditions for stimulating the life-creating activity of the individual is emphasized. The conclusions substantiate that the formation of a culture of life-creating should become a priority direction of modern educational, psychological and socio-cultural policy. Prospects for further research are seen in the creation of diagnostic tools for measuring the level of a person's life-creating culture, as well as in the development of programs for the development of life-creating potential in the educational environment, professional training, and personal growth practices. (shrink)

Introduction to the special issue in Pragmatics & Cognition focused on creativity, cognition, and material culture. With contributions from Maurice Bloch, Chris Gosden, Tim Ingold, John Kirsh, Carl Knappett & Sander van der Leeuw, Lambros Malafouris, Frédéric Vallée-Tourangeau, Kevin Warwick, and Tom Wynn and Frederick L. Coolidge.

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines (...) the relation between creativity and the perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

The scope of this paper is to conceptualise a data-based research framework for the role of creative networks in cultural exchange. Participation in culture measured as audience per 1000 residents and expenditures on culture-related activities were analysed in relation to such territorial assets as accessibility to creative infrastructure, the economic status of residents, the governance networks of civil society, and cultural capital. The results indicate how accessibility, governance networks, and cultural capital contribute to participation measured via audience (...) indicators while a low poverty rate has explanatory value with respect to expenditures on culture. (shrink)

At the current stage, the cultural and creative industry, as an emerging economic form, is increasingly becoming an important engine driving socio-economic development. Cultural and creative products are not only the material embodiments of cultural resources but also innovative expressions of cultural values. This paper explores innovative pathways for the design of cultural and creative products from the perspective of sustainable development based on traditional philosophy. By combining elements of traditional philosophy with modern design concepts, (...) the design of cultural and creative products can achieve an organic fusion of cultural heritage and innovation, creating products that possess both rich cultural depth and meet contemporary aesthetic and functional demands. This paper analyzes the application of traditional philosophy in the design of cultural and creative products, emphasizing the deepening of cultural connotations, the stimulation of design innovation, and the construction of brand identity. Furthermore, in conjunction with the concept of sustainable development, it proposes specific strategies for the design of cultural and creative products in terms of material ecological sustainability and cultural diversity. (shrink)

Recent trends in the understanding of culture contact, with concepts such as hybridization, cosmopolitanism, and cultural innovation, open up the possibility of a new understanding of human interaction. While the social imaginary is rich with images of conflict resulting from culture contact, images of creativity are far rarer. We propose the creation of an extensive research project to document cultural creativity, starting with obvious examples in the arts, and expanding into all areas of life in order (...) to counteract the present conflictual images and develop a social imaginary with positive “attractor” images that can guide to greater creativity. (shrink)

This paper analyses border effects on the evolution of Cultural and Creative Industries (CCIs) during 2013‒2020 when Russia invaded some areas of Ukraine (2014). As most empirical evidence on CCIs refers to OECD countries, this paper contributes to the literature by focusing on a mid-income European country suffering from a war conflict. Our results are meaningful for understanding the positive contribution of CCIs to economic activity in these circumstances and suggest that i) this effect applies to all industries except (...) CCIs, and that ii) proximity to conflict regions counterbalances previous positive effects. Overall, we conclude that CCIs should play a major role in the recovery of the Ukrainian economy once post-war plans can be implemented. (shrink)

This review presents an analysis of the fundamental work “Creativity and religiosity in Russian culture. Philosophical Research” was written by the Russian philosopher and cultural scientist O.A. Zhukova who has been fruitfully researching the history of Russian culture and national thought for many years. The new book is the third part of a trilogy devoted to discussing the line of succession in Russian cultural and intellectual history, which is characterized by a religious understanding of creativity. The (...) author formulates important theoretical positions, as well as methodological approaches to the study in philosophy of Russian culture and history. The large scale work is highlighted by the original interpretation of the plots considered in it. In the book, O.A. Zhukova develops the thesis about the ideal-centering of Russian culture, she offers a philosophical-culturological model of the historical dynamics of Russian culture. The basis of this model is the creative experience of a personality. (shrink)

With the integration of the cultural industry and the upgrading of consumer demand, museum cultural and creative products (CCPs) have become vital mediums connecting cultural heritage and the public. While existing studies mainly focus on national-level museums, systematic explorations into the development and brand marketing paths of regional museums' CCPs remain insufficient. Taking Anhui Museum as a case study, this paper systematically analyzes its cultural and creative product development and brand marketing strategies based on the STP (...) (Segmentation, Targeting, and Positioning) model. It aims to explore feasible paths for regional museums to achieve sustainable development of the cultural and creative industry under resource-constrained conditions. Using a case study method, the research sorts out the museum’s collection resources, analyzes market segmentation logic, and evaluates brand operation practices, meticulously revealing Anhui Museum’s experiences and challenges in product content planning, target user matching, and brand image construction. The study shows that Anhui Museum, leveraging its rich collections, has initially established a diversified CCP system with "Cultural Memory + Aesthetic Life" as its core value proposition. By integrating online and offline communication, it has effectively expanded its brand influence. However, issues such as product innovation, refined user management, and brand system construction still require further development. This paper argues that regional museums should combine cultural connotation with market logic, improve brand strategy systems, and deepen user experience operations to achieve the dual goals of cultural inheritance and industrial development. The research provides theoretical references and practical insights for the development and brand marketing of cultural and creative products in regional museums and lays a foundation for future multi-case comparative studies and strategy optimization under the context of digital transformation. (shrink)

_Jewish Culture and Creativity_ honors the wide-ranging scholarship of Prof. Michael Fishbane with contributions of his students on subjects that cover the gamut of Jewish studies, from biblical and rabbinic literature to medieval and modern Jewish culture, and concluding with case studies of the creative application of Prof. Fishbane’s thought and theology in contemporary Jewish life. The innovative scholarship represented in this volume offers critical new perspectives from antiquity to contemporary Judaism and will serve as a stimulus for new directions (...) in and beyond the field of Jewish studies. (shrink)

The globalization communication strategy of cultural creative products is closely related to its IP symbol, IP image, IP narrative, IP experience and IP communication. This paper tries to describe the formation process of cultural creative products, the transformation from cultural IP to IP cultural symbol brand, and focuses on analyzing the symbol extraction and development process of IP cultural creative products, as well as the digital communication methods. It analyzes the marketing level of IP (...) class='Hi'>cultural and creative products and seeks to find out the consumer's demand for cultural and creative products. IP cultural symbols are extracted as model variables, and the communication strategy of IP cultural and creative products is subdivided into cultural fit, emotional experience, quality of communication content, marketing interaction, and the perceived value is used as a mediating variable to establish a structural equation model. The research hypotheses are tested, and the relationship variables under the differences of different individual characteristics are explored by gender and income level. Combined with the results of hypothesis testing, the globalization communication strategy of IP cultural and creative products is adjusted. The path coefficients of cultural fit, emotional experience, communication content quality, and marketing interaction on perceived value are 0.351, 0.439, 0.507, and 0.103, respectively, and the path coefficient of perceived value and willingness to buy is 0.366, which means that cultural fit, emotional experience, communication content quality, and marketing interaction in the communication strategy of IP cultural and creative products positively affect perceived value, and perceived value positively affects willingness to buy. In order to realize the globalization and expansion of IP cultural and creative products, it is necessary to focus on the four aspects of cultural fit, emotional experience, quality of communication content and marketing interaction in the product communication strategy. (shrink)

The cultures here in question are those of mathematics and of physics that I shall interpret with the goal of exploring different modes of creativity. As case studies I will consider two scientists who were exemplars of these cultures, the mathematician Henri Poincaré (1854-1912) and the physicist Albert Einstein (1879-1955). The modes of creativity that I will compare and contrast are their notions of aesthetics and intuition. In order to accomplish this we begin by studying their introspections.

Cultural evolution may be even more prolific in the generation of new forms than is biological evolution – especially when it takes the form of creative genius. Yet evolutionary theories have tended to overlook the factors that might select for outstanding individual creativity. A recent dual-inheritance theory is outlined and then integrated with the niche-construction theory of Laland et al.

The author considers the creative activity as an activisation process of inner abilities of the artist and the listener (reader, spectator) as a result of interaction (intersection) of inner worlds of different subjects. If the reader is not a creative individuality he will perceive somebody's creation as a mechanic user and in that way he will deform it. Key words: creative activity, cultural context, cultutology.

The purpose of this study was to examine how culture shapes creativity by reviewing empirical findings across diverse studies. The impact of culture on creativity is typically manifested in three ways: (a) people from different cultures or settings have distinct implicit and/or explicit conceptions of creativity; (b) individuals from different cultures, particularly those from individualist and collectivist cultures, show differences in preferred creative processes and creative processing modes (e.g., usefulness seems more important than novelty in the East, (...) whereas novelty seems equally important as usefulness, if not more so, in the West) when they are engaged in creative endeavors; (c) creativity may be assessed using different measures based on culture-related contents or materials, and findings are accurate only when culturally appropriate or culturally fair measures are used. Potential implications and future directions are also proposed. (shrink)

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with 'innovation' in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel (...) of creative improvization. (shrink)

Much writing on, first, analogue and, later, digital archives has focused on related power-dynamics and the structuring effects of archives and their technologies on discursive freedom and cultural dynamics. In recent years, however, work within the media archaeology domain, especially by Wolfgang Ernst, has addressed how the specific materialities of digital archives, and the nature of their algorithms and particular functions, could be seen to facilitate dynamics in cultures. This article sets this work in dialogue with the cultural (...) semiotics of Juri Lotman, whose late work focused on how communicative processes between and within different subsystems of culture facilitate their dynamic change and the production of new forms and cultural systems. The article suggests further interdisciplinary dialogue between media archaeology and cultural semiotics in order to understand the role of archives in facilitating communicative processes and interlinking in culture and the emergence of novelties – that is, for understanding the ‘creativity’ of archives. (shrink)

The article analyzes cultural crisis as a decline in human existential creativity. A review of the problematic nature of the conception of creativity shows that this concept is not strictly defined. Non-classical philosophers were among the first to theoretically ground the importance of creativity for an individual, their quality of life, the well-being of society, and the development of culture. From this philosophical perspective, it is shown that a human being has, as a natural creative faculty, (...) an innate ability to create. This existential human creativity can be defined as the self-development of one's personality, the creation of one's life and environment. The causes and consequences of a decline in creativity are analyzed in the context of Spengler's conception of cultural crisis. The conclusion is reached that creative activity and creativity can be taken to be the most profound goal of a personality and its most perfect form of existence. From this existential creativity stems an authenticity of life, a creation of spiritual values, and an improvement and development of cultural forms. The disjunction of culture and civilization reveals that the establishment of an era of civilization and mass culture marks the decline of authentic culture as regards vibrant existential creative activity. (shrink)

The relevance and theoretical weight of the mentioned topic of research consists in the definition of the phenomenon metamodernism, which, in modern humanitarian knowledge and in literary and artistic practice, determines the need to distinguish and analyse segments of European humanism as means of in-depth reproduction, nuance and personalisation of historical and cultural stages, in the context of the specified systematisation of the movement of segments from the middle of the 19th to the first two decades of the 21st (...) century. The main goal of this study, considering the creative and research potential of segments that contributed to the gradual layering of specific features of European humanism, is the reconstruction of arguments for and against those processes that caused the development of a single cultural space. The basis of the methodological approach in this study is the principles of historicism with the assignment of analytical, comparative, and chronological approaches to the determination of a wide range of issues that are of significant importance in the context of the stated topic. In the course of carrying out this research, results were obtained that have significant theoretical and practical significance, because they contribute to the further scientific and theoretical understanding of the dynamics of the European humanistic movement from the second half of the 19th to the first two decades of the 21st century, and can be used in lectures on aesthetics, philosophy, cultural studies, history and the theory of art for students of humanitarian and artistic creative universities. The results obtained during the implementation of this research, and the conclusions formulated on their basis, are of significant importance in the context of determining the key trends in the recognition of the creative and searching tendencies of European humanism, which play an important role in the process of forming a single cultural space. (shrink)

This paper is dealing with western scientific heritage in social thought regarding the ideas of elite. Pareto, Moska, Michels and other grounded the inevitability of elite top to be distinguished according to it indispensable role in the system of social control. However, social-historical practice showed new possibilities and functions of pluralistic elites, particularly the usefulness of elitist approach for solving certain social problems. Special attention has been given Toynbee's conception of elite. We chose and described four conceptions of creative elite (...) in the western social philosophy: economic-technocratical, political-legal, psychological, cultural. Key words: creative elite, cultural-historical process, elite conception. (shrink)

The coronavirus disease 2019 pandemic has brought about unprecedented uncertainty and challenges to the worldwide economy and people’s everyday life. Anecdotal and scientific evidence has documented the existence of a positive relationship between the experience of crisis and creativity. Though this appears to be ubiquitous, the crisis-creativity-well-being relationship has not been sufficiently examined across countries and using a working adult sample. The current study drew on a sample consisting of 1,420 employees from China, Germany, and the United States (...) to examine whether creativity can function as an effective means to cope with crisis and to achieve both flourishing and social well-being. Multivariate analyses showed that perceived impact of COVID-19 was positively related to creative process engagement, which was positively related to employees’ self-reported creative growth. Creative growth was associated with a higher level of flourishing well-being. This sequential mediation model was significant across the three samples. Creativity also mediated the relationship between perceived impact of COVID-19 and social well-being, but this connection was only found for the Chinese sample. Further data analyses revealed that individualism moderated this serial mediation model in that the positive coping effect of creativity on both flourishing and social well-being was stronger for individuals who hold more collectivistic views. Results of the study have implications for crisis management, personal development, and positive functioning of individuals and society. (shrink)

With the growing aesthetic demands of consumers and the of Suzhou's cultural tourism continuous enhancement, creative bazaars have quietly sprung up in Suzhou. Creative bazaars in Suzhou have demonstrated adding new colors to the traditional market services the possibility of, and also provided a window for reflection on the development of creative bazaars. This paper adopts the method of, but also targeted at the various types of stall owners and tourists in Suzhou Creative Bazaar in-depth interview survey, to the (...) stall owners, tourists to inquire about before and after the renewal and reconstruction of the bazaar comparisons, business or tourism experience. random sampling questionnaire The whole research project was carried out from both producer and consumer perspectives. The results of the show that the development of creative bazaar has a better market prospect, and the creative renewal and transformation of traditional bazaar also has a larger market and attraction. study The article draws relevant conclusions through the above analysis, and puts forward scientific suggestions for the transformation and development of bazaars from the perspectives of product quality, infrastructure, publicity,etc.,and from the perspectives of the government, enterprises, and individuals, in order to help the renewal and development of traditional bazaars and promote them, and at the sometime to provide feasible solutions for the integration of cultural, commercial and tourism development in Suzhou. (shrink)

The subject of the study is the semantic content of cultural diplomacy. The relevance of addressing this topic is determined by the specifics of the current stage of development of international relations, when cultural diplomacy finds itself in a situation of sharply narrowed opportunities amid the intensification of counterproductive strategies of “cancel culture.” The purpose of the work is to trace the features of the disclosure of values and meanings of the period of recent sociocultural turbulence. The objectives (...) of the study are 1) to clarify the nature of the attitude of representatives of creative professions to the political and ideological realities of the time; 2) highlight the difference between the dichotomies “political / non-political” and “official / unofficial”; 3) establish the significance of each part of these dichotomies in solving the problems of cultural diplomacy; 4) to trace theoretical and practical approaches to the components of these dichotomies on the part of representatives of artistic culture in the light of the paradigm of meaning-making as a key value of culture; 5) determine the possibilities and boundaries of interaction between representatives of creative professions and the political context of their activities. The research methodology is based on an integrated approach based on data from cultural history, cultural anthropology, and political psychology within the framework of the theory of intercultural communication. The key method used is categorical analysis, as well as discourse analysis, which allows us to trace blocks of value preferences, taking into account the characteristics of current historical and cultural processes. The novelty of the study lies in identifying the possibilities and boundaries for the development of cultural contacts in an era of current turbulence (primarily political), when, against the backdrop of the intensification of “cancel culture,” the possibilities for such interactions are reduced. (shrink)

We live in an era of unprecedented interconnectivity and challenges that require global mindsets and creative approaches. While research on global identification has increased in recent years, the question of whether it can facilitate creativity remains largely unexplored. Moreover, despite the evidence linking multicultural experiences and global identities, migrant populations have been overly underrepresented in this area of research. We examine the association between global culture identification and creativity in the Alternate Uses Test, across two different samples residing (...) in Spain: a host national and majorly student sample and a culturally diverse immigrant sample. Additionally, we test the predictive value of ethnic identification and host culture identification. Regression analyses reveal that global culture identification positively predicts creativity among host national participants, and host culture identification predicts creativity among immigrant participants. Our results suggest that developing a cultural identity that transcends the one acquired through enculturation has the potential of facilitating creative behavior. (shrink)

Ernst Cassirer's The Philosophy of Symbolic Forms fails to account properly for personalized experiences; it cannot provide a basis for understanding how some experiences become personal while others do not. Our account of personalized experience will remain lacking as long as we follow Cassirer in viewing personalized experience as a non-necessary feature of other symbolic forms such as myth, language, religion, or art; instead it must be understood that personalized experience is grounded in an independent symbolic activity as basic to (...) human cultural life as language, myth, or objectivating knowledge. This basic personalizing symbolic function is best understood as that same activity articulated in Gabriel Marcel's phenomenological descriptions of the act of "creative fidelity." Once this relationship has been grasped, it becomes possible to articulate a symbolic form of personalized experience by describing the unique way in which creative fidelity (as the personalizing symbolic function) spatializes, temporalizes, numeralizes (and as a result subjectifies/objectifies) its own distinct horizon of meaning (or: cultural world). The result will be a symbolic form, as Cassirer understands it, that is as far-reaching and fundamental to human cultural life as the three symbolic forms elaborated in The Philosophy of Symbolic Forms. By articulating this fourth symbolic form, we will have taken a significant step toward Cassirer's ultimate goal of a robust philosophical anthropology. (shrink)

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement (...) by Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

Wherever we turn, we find creative practices and creative spaces, creative organizations and creative subjects. At work or in public places, in media representations and in advertisements, on social platforms, in schools and universities: There is a demand to be new and special, conspicuous and singular. How did this creativity complex and its imperative to be creative come about? Which terms and concepts enable us to understand its multiple and partly contradictory forms and processes? Where are its limits? Gathering (...) and interweaving 40 short and incisive essays, this companion maps, investigates and illuminates the contemporary creativity complex. (shrink)

The world today is characterized by intercultural diversity. More and more communication takes place between people with different linguistic as well as cultural backgrounds. This happens because of contacts within the areas of business, science, education etc. but also because of immigration brought about by labour shortage or unstable political situation. The globalisation of the economy with increased appreciation by companies that managing cultural differences properly can be a key factor in getting things done effectively across borders. With (...) increased contact of personnel and customers from diverse cultural background, there is a growing demand for businesses to understand and manage the diverse values, perceptions, business worldviews and behaviour of corporations, staff, and its customer. Intercultural communication and management is an interdisciplinary human resources field concerned with faciliting communication, management and effective interaction of personnel and customers across borders. The starting point for understanding consumer behaviour is really important. Marketing and environmental stimuls enter the consumer’s conscioussnes, and set of psychological processes combine with certain consumer characteristics to resault in decision processes and purchase decision. The marketer’s task is to understand what happened in the consumer’s consciousness between the arrival of the outside marketing stimuli and the ultimate purchasedecision. Four psychological processes are motivation, perception, learning and also memroy, fundamentaly influence consumer responses. Understanding consumer behaviour may often be complicated since many different factors influence the behaviour and sicnce many different forms of behaviour exist. Paper describe fuzzy concept for evaluation of some cros-cultural impact and compare it with other type of measurements presented in literature. (shrink)

The article is devoted to problems of creative and reproductive strategies of modern Russian pedagogy with regard to the asynchrony of cultural personality layers of students. The asynchrony of cultural and psychological personality layers means that a system of personal attitudes consists of orientations that prevailed in different historical periods and therefore is able to combine both harmony and disharmony of interaction between them. Orientation on the reproduction or on the creativity has a particularly strong influence on (...) the formation and dominance over private personal attitudes. Special attention is paid to active group learning methods that are capable of intensifying the creative development of a personality. The cause of many of the shortcomings of the modern education is the state bureaucratic activity armed of consolidating the archaic reproductive attitudes in teachers and students practices and at enhancing the asynchrony of cultural layers of personality, which hampers the further development of creativity. Much attention is paid to the traditions of Russian humanitarian thought and experience of outstanding Russian teachers largely determined the development of modern pedagogical practice. The activity of the most talented native teachers of the twentieth century was aimed at reducing the specified cultural asynchrony of pupils through active intragroup interaction with increasing inclusion of each in the process of development of modern cultural skills of creativity. Not ‘stucking‘ on the tasks that the group could decide for herself, the teacher worked "for the future", focusing it on the broader educational interests and creativity. Typology of culture correlates with cognitive mechanisms of socialization. (shrink)

The subject of the research in this article are certain aspects of the "philosophy of culture" of the prominent thinker, theologian, historian of Russian thought Georgy Vasilyevich Florovsky, which influenced the evolution of his worldview. Special attention is paid to the facts of the "European" period of his biography, the analysis of his "Eurasian" works, as well as his assessments of the philosophical concepts of some Russian thinkers and calls for the conversion of the process of cultural creativity (...) to spiritual principles. Particular attention is paid to the content of the discussion that unfolded between G.V. Florovsky, N.S. Trubetskoy and (in absentia) N.Ya. Danilevsky on the problem of the status of "universal culture" and the mutual influences of cultures. The study reveals the philosophical nuances of the evolution of G. Florovsky's views as a "Eurasian" author based on his own works and the assessments contained therein. Scientific literature often emphasizes the influence of Eurasian ideology on G. Florovsky, expressed, in particular, in his ideas about culture and cultural creativity. However, based on the analysis of the material presented in the article, the author comes to the conclusion that G.V. Florovsky, although he was a member of the Eurasian circle, on some significant issues differed from the main direction of development of the Eurasian ideology presented by E. Trubetskoy. (shrink)

This paper introduces the basic principle and application process of simulated annealing algorithm and improves the simulated annealing algorithm so that it can converge faster to get the new parameters of cultural and creative product design and make it more in line with the reality of engineering optimization. In the cultural creative industry, it is necessary to use the creatorʼs creativity and technology to derive and develop the original cultural resources with the help of various materialization (...) means, to refine the abstract and profound contents of cultural resources to make them more visualized, and to produce products with both spiritual and economic values through the multiple development and utilization of their intellectual property contents. By studying the feasibility analysis of the cultural and creative design, the design positioning of the cultural and creative products is determined. In this article, we use the simulated annealing method to simulate and analyse the condition values in the design process of cultural creative products. As the Internet era progresses, people have more diversified requirements for cultural and creative products, and they need to have innovative ideas to follow the trend, so the design of cultural and creative products can spread culture through different design expressions and media. As one of the important pillar industries for future development, cultural and creative products are characterized by a wide range of styles and practicality, which meet the aesthetic needs and fashion trends of modern people. (shrink)

In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has (...) opened up the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold. (shrink)

The dissertation criticizes two analogical applications of Darwinism to the spheres of mind and culture: the Darwinian approach to creativity and memetics. These theories rely on three basic analogies: the ontological analogy states that the basic ontological units of culture are so-called memes, which are replicators like genes; the origination analogy states that novelty in human creativity emerges in a "blind" Darwinian manner; and the explanatory units of selection analogy states that memes are "egoistic" and that they can (...) spread independently of our mind. The detailed philosophical analysis offered in the dissertation shows that these three analogies rely on either wrong or trivial statements: they provide either wrong or no new descriptions or explanations of the phenomena at hand. In Chapter One, I introduce the diverse ways, in which contemporary Darwinism is used today outside of evolutionary biology. Chapter Two explains what it means to claim that something evolves in a Darwinian manner. Chapter Three to Five address each of the three analogies separately. Darwinism applied to culture and mind, at least in the way discussed in this study, is not a dangerous idea. It leads either to wrong claims or to a re-telling in Darwinian terms of what we have already known. (shrink)

The progress and development of the new era has given commercial illustration a new vitality, expanding and enhancing its commercial value and cultural connotation.However, under the influence of traditional mechanistic philosophical thought, there is a tendency of utilitarianization, mechanization, absolutization and fragmentation in China's commercial illustration in general, resulting in various reform measures facing difficulties and resistance, especially not conducive to the healthy and comprehensive development of packaging design.Ecological philosophy, as a systematic, holistic, processual and connected idea, is now (...) being widely used to deal with the relationship between human beings and society.By analyzing the close relationship between commercial illustration, which is an important design graphic language for cultural and creative packaging design, and cultural and creative product packaging, this paper tries to propose how commercial illustration is applied in cultural and creative packaging design under the ecological philosophy perspective.It summarizes the role of commercial illustration in cultural creative packaging design, elaborates the research on the innovation strategy of commercial illustration in cultural creative packaging design under the ecological philosophy perspective, and demonstrates the charm of commercial illustration in cultural creative packaging design. (shrink)

El siguiente artículo toma como punto de partida al concepto de industria cultural desde sus principales exponentes, para exponer sus usos actuales. Este nació como concepto filosófico como parte de la obra de los autores representantes de la llamada Escuela de Frankfurt, Theodor Adorno y Max Horkheimer, con valiosos aportes de Walter Benjamin. En la actualidad ha mutado su definición, siendo utilizado de manera instrumentalpor parte del Estado y organismos internacionales, para definir al grupo de sectores de producción (...) class='Hi'>cultural y simbólica de acuerdo a sus parámetros económicos. En este sentido, desde aquél concepto de industria cultural de los años cuarenta podremos ver que hay un recorrido en el cual se van transformando las posturas acerca de lo que el arte y la cultura posibilitan. La función social del arte va escondiéndose detrás de su inmersión cada vez más visible dentro de la producción mercantil, si bien en los últimos años la cultura aparece como motor de desarrollo económico e identitario. Esta transición será ilustrada con el caso argentino, dando cuenta de los cambios en el sector. The following article takes as its starting point the concept of Culture Industry from its leading exponents, and exposes its current uses. The Culture Industry began like a philosophical concept, as part of the work of the Frankfurt School authors, Theodor Adorno and Max Horkheimer, with contributions of Walter Benjamin. Nowadays, this concept definition has mutated, being used instrumentally by the state and international organizations, to define the cultural and symbolic production according to economic parameters. In this sense, paying attention to that idea of Culture Industry, we can see that there is a path in which the possibilities of meanings of art and culture are changing. The social function of art is subordinating behind the commodity production, although in recent years the culture appears as an engine of economic development and identity. This transition will be illustrated accounting for changes in the sector in the case of Argentina. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one (...) class='Hi'>cultural and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

I address the problem of caring for our body-mind through neuropragmatism, cybernetics, and Larry Hickman’s work on John Dewey and the philosophy of technology. The problems of body-mind health are related to Emma Dowling’s The Care Crisis. I address this crisis by drawing on Jay Schulkin’s conception of viability as the creative tension between stability and precarity. From this, I extend body-mind health to questions of democracy, leading to the proposal of body-mind-world as an elaboration of neuropragmatism’s evolutionary and ecological (...) conception of experience as Œ and Hickman’s distinction between the merely valued nature-as-nature and the valuable nature-as-culture. I conclude with a reimagination of creative democracy as a moral ideal for dealing with the care crisis. (shrink)