Academic literature on the topic 'Creative media'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Creative media.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Creative media"
1
Smith, Sophy. "Creative Collaboration and Online Social Media." International Journal of Art, Culture and Design Technologies 1, no. 1 (2011): 1–11. http://dx.doi.org/10.4018/ijacdt.2011010101.
Full textAbstract:
Web 2.0 online social media tools have made it increasingly easy to communicate, cooperate, and collaborate with others online, and as such offer new frameworks for making creative work. Facebook claims that it helps members connect and share, but what if the people you want to connect and share with are your artistic collaborators? Can Facebook be used creatively, as a collaborative artistic environment? This article draws on a practical research project ‘Feedback’, carried out by the author in early 2010, exploring new methodologies for collaborative creation supported by online social media. The project focused on the creative use of Facebook as a tool for creative collaboration, establishing a possible working model of artistic collaboration using Facebook.
2
Халепа, Олександра. "Media art practices as factors for creating creative spaces." Art Research of Ukraine, no. 19 (December 5, 2019): 202–7. http://dx.doi.org/10.31500/2309-8155.19.2019.185995.
Full text
3
Rocha Franco, Juliana. "Locative Media and Creative Cartographies." Journal of Technologies and Human Usability 12, no. 3-4 (2016): 23–30. http://dx.doi.org/10.18848/2381-9227/cgp/v12i3-4/23-30.
Full text
4
Oddone, Kay. "Social media for creative libraries." Australian Academic & Research Libraries 47, no. 1 (2016): 51–52. http://dx.doi.org/10.1080/00048623.2016.1162270.
Full text
5
Isfandyari-Moghaddam, Alireza. "Social Media for Creative Libraries." Program 51, no. 2 (2017): 214–15. http://dx.doi.org/10.1108/prog-03-2016-0033.
Full text
6
Tinney, Cheryl. "Social media for creative libraries." Australian Library Journal 65, no. 1 (2016): 72–73. http://dx.doi.org/10.1080/00049670.2016.1129031.
Full text
7
Dahlén, Micael, Lars Friberg, and Erik Nilsson. "Long Live Creative Media Choice." Journal of Advertising 38, no. 2 (2009): 121–29. http://dx.doi.org/10.2753/joa0091-3367380208.
Full text
8
Bown, Oliver, and Sam Ferguson. "Creative Media + the Internet of Things = Media Multiplicities." Leonardo 51, no. 1 (2018): 53–54. http://dx.doi.org/10.1162/leon_a_01549.
Full textAbstract:
This paper proposes the term “media multiplicities” to describe contemporary media artworks that create multiples of “internet of things” devices. It discusses the properties that distinguish media multiplicities from other forms of media artwork, provides parameters for categorizing media multiplicities, and discusses aesthetic and creative factors in the production of media multiplicities.
9
Zagalo, Nelson. "Creative game literacy. A study of interactive media based on film literacy." Comunicar 18, no. 35 (2010): 61–68. http://dx.doi.org/10.3916/c35-2010-02-06.
Full textAbstract:
In this study we have analysed the current state of media literacy focusing on the game and film art forms. We aim to discover if some problems found throughout the history of film literacy were also occurring in game literacy research. It is also our intention to bring both visions together in order to get the attention of people working in the gaming field. To do this we have studied the cultural and creative dimensions in game literacy. The study is defined culturally by educational and critical approaches, and creatively by design and programming. The study also takes into account film literacy perspectives. We found that game literacy has a strong bias towards the cultural rather than the educational approach. The critical component might face the same problems that occur in film literacy studies. In terms of the creative dimension, we found a lack of investment in and support for research in design and programming practices. In conclusion we believe more interest needs to be generated in game literacy and that the literacy perspective based on creative design and programming with an emphasis on communication instead of education should be the model to follow. En este estudio hemos analizado el estado actual de la alfabetización mediática prestando especial atención al cine y los videojuegos. Hemos intentado analizar si algunos de los problemas encontrados a lo largo de la historia de la alfabetización cinematográfica han existido también en el proceso de la alfabetización en los videojuegos, intentando unificar ambas visiones para captar la atención de las personas que trabajan en el campo de los videojuegos. Para ello, el estudio abarca la alfabetización en los videojuegos en dos dimensiones, la dimensión cultural y la dimensión creativa. La dimensión cultural se define a partir de los enfoques críticos y educacionales y la creativa mediante el diseño y la programación. Estas investigaciones se han llevado a cabo sin dejar de lado la perspectiva de la alfabetización cinematográfica. Hemos descubierto que la alfabetización en los videojuegos tiene una fuerte tendencia hacia el enfoque cultural, sobre todo la vertiente educativa, y que los riesgos que plantea el enfoque crítico presentan problemas similares a los que se registran en los estudios sobre el cine. En cuanto a la dimensión creativa, hemos advertido una falta de inversión para el estudio y la investigación de prácticas de diseño y programación. En conclusión, creemos que la alfabetización en los videojuegos necesita un nivel de motivación. Estimamos urgente la implantación de una perspectiva de alfabetización basada en el diseño creativo y la programación, poniendo especial énfasis en el desarrollo del enfoque comunicativo.
10
Pentury, Helda Jolanda, Anastasia Dewi Anggraeni, and Dendi Pratama. "Improving Students’ 21st Century Skills Through Creative Writing as A Creative Media." DEIKSIS 12, no. 02 (2020): 164. http://dx.doi.org/10.30998/deiksis.v12i02.5184.
Full textAbstract:
<p class="8Abstractcontent">The ability to improve students’ 21<sup>st </sup>century skills using creative writing is truly one of the most revolutionary developments in modern creative English education. This type of education, however, is not without its challenges, the way of using creative projects as the creative media to improve writing skills experiences showed the students and the teachers as well that to improve ‘21<sup>st</sup> century skills’ through creative writing is imaginative, and creative way. This study conducted an observation of design students at the University of Indraprasta PGRI Jakarta, especially their projects and literature study. The qualitative method with an integrated creative approach of 4C’s is used to analyze the creative writing elements of students’ creative projects as a creative media. The results of this study are useful to be used as a reference in improving students’ 21st century skills and creative writing skills as well by using those Creative Writing projects as a creative media. Furthermore, the results show most of the students have improved their 4C’s skills which is called 21<sup>st</sup> century skills, grow their language skills by writing the projects creatively and innovatively.</p><p> </p><strong>Keywords:</strong> 21<sup>st</sup> century skill, creative writing, media
Dissertations / Theses on the topic "Creative media"
1
Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.
Full textAbstract:
Johannesburg was built on the discovery and exploitation of gold, but the gold mines are
depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations
of the dense and diverse population sustain Johannesburg as the economic capital of the
country, but the City has lost its golden meaning and is striving for a new identity: to become
the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural
expression. People and cultures of the City mix and spark ideas in public space, so Joubert
Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art
Gallery, should play a role in Johannesburg's transformation into the Cultural Capital.
The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it
now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no
significant contribution to the public of Joubert Park, but its iconic design and position indicate
its potential to be rediscovered as an important public space. This dissertation investigates
how spatial interventions can be mobilised to re-establish the forgotten significance of
the site, and introduce a programme that will respect and enhance the heritage of the
Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater
urban environment as the Cultural Capital.
The proposed programme is the Creative Conservatory (CC), a community media and arts
centre driving universal media accessibility and providing an enabling environment for the
cultivation of artistic and cultural expression and development. The CC serves the community,
mobilising the arts for social and economic development, thus supporting the creative
economy and cultural landscape of Johannesburg. The architectural intervention of the CC is
designed for the present, while inspired by and responding to heritage, so as to create places
that will remain relevant in the future.<br>Johannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop
nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit
en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt
van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit:
om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en
kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke
ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die
Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se
transformasie na kulturele kapitaal.
Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele
kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra
nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek
kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike
veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe
program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as
kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra
as kulturale kapitaal.
Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum
vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie
van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien
die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te
bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg
te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis,
om plekke te skep wat relevant sal bly in die toekoms.<br>Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.<br>Architecture<br>MArch (Prof)<br>Unrestricted
2
Zhang, Jia Ph D. Massachusetts Institute of Technology. "Information visualization as creative nonfiction." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81082.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.<br>Cataloged from PDF version of thesis. "June 2013."<br>Includes bibliographical references (p. 86-88).<br>Information visualizations are an important means through which we communicate knowledge. By considering visualizations as data-driven narratives, this thesis uses narrative thinking as an orienting concept to support the production and evaluation of information visualizations. It proposes a set of guides that are central to future developments in the visualization of information through the analysis of historical examples and a design-based research process resulting in a system called the Royal Society Network. This thesis investigates the themes of various types of objectivity, the layering of quantitative and qualitative methods, the parallel relationship between investigation and visualization, and the graphical nature of statistical thinking. It then identifies transparency, hybridity, and investigation as the central concepts to visualization, where transparency is the communication of underlying structures to end users and is expressed through the building of interface elements as equal components to visualization, the recording and visual incorporation of usage patterns, and the representation of uncertainty; where hybridity is-in terms of both method and form-expressed through the use of quantitative and qualitative methods to drive visualizations forward and the use of multiple graphical forms to aid in understanding and providing contextual information; and where the investigative quality of visualizations is based on the coordination of grain size and axis of representation with the author's line of inquiry.<br>by Jia Zhang.<br>S.M.
3
Hughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.
Full textAbstract:
Microcomputer applications to fine arts areas of education have received limited attention although the need for interdisciplinary education made evident in a substantial body of literature would seem to make such applications desirable. The use of microcomputers as creative media for the composition of poetry, art images, and music by grade four students at an elementary school in British Columbia, Canada was observed and analyzed in order to discern what actually happened as a result of the juxtaposition of microcomputers and creative aspects of fine arts. Ethnographic research methodology allowed the classroom teacher to conduct the study in a participant-observer role throughout the 1988-1989 school year.
As a side aspect to the study, it was observed that students developed problem solving strategies that involved assessments and value judgements which encouraged those students to accept responsibility for their own learning.
Word processed poetry engendered visual awareness that promoted extensive editing and proofreading and stimulated exploration of visual presentations in the genre of concrete poetry.
Art images of nonrepresentational and abstract styles predominated because microcomputer capabilities supported such compositions and allowed students to experience satisfaction in their work regardless of their personally perceived proclivities toward portrayal in realistic style. The use of microcomputers facilitated image processing: the explorations of single ideas that resulted in the creation of series of related images.
The students revealed developmental stages in music composition approaches and perceptions by the manner in which they structured sound into music.
The students integrated concepts and techniques that involved poetry, art, and music into single works and thus demonstrated associative thought processing skills.
Microcomputers used as creative media in the fine arts areas of poetry, art, and music enabled unique learning outcomes, provided a previously unavailable means whereby the developmental stages of child music composition were able to be observed, and constantly allowed students to be simultaneously creators and observers of their own work. The students were thus in position to concurrently recognize and respond to artistic form: a position in which aesthetic experiences are possible.<br>Education, Faculty of<br>Language and Literacy Education (LLED), Department of<br>Graduate
4
Prax, Patrick. "Co-creative Game Design as Participatory Alternative Media." Doctoral thesis, Uppsala universitet, Medier och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-287659.
Full textAbstract:
The possibility of co-creation exists for all media, but game design has developed a culture that is unusually open to co-creation. This dissertation investigates significant cases of co-creation in mainstream games in order to explore how games can be co-created as alternative or critical media by their players. The core argument in the dissertation is that players co-create the design of a game only if certain conditions are met, namely: (1) player creation of a text or communication infrastructure that modifies the properties of the game and from which play emerges; (2) that this is done for a considerable group of players who share a particular practice of play; (3) that this is done not only by playing the game but by changing how others play it in a distinct creative activity, and (4), with the potential to subvert or contest the original design of the game. This situation where player creators have influence over the design of the game (but little power to enforce their interests) is problematic from the perspective of alternative or critical media, as alternative, local, production is seen as one reason for why a medium can have an alternative message. The industrial production of games as cultural commodities does limit the potential of co-creative game design for subversion because it reduces the level of participation in the creation process, thus keeping player creators relatively disempowered. Player creators do have influence on the design of the game, while at the same time having very little power to enforce their interests and design visions. The influence of player creators comes from the consumer power of millions of players who use co-created assets and who want to them to continue exiting, and this creates a mutually dependent relationship (and even partnership), between co-creators and commercial owners. The dissertation concludes that co-creative game design, despite limitations related to the industrial production of games as cultural commodities, is already happening, and shows a potential for turning games into alternative media.
5
Venter, Marija Anja. "Patchworked creative practice and mobile ecologies." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28365.
Full textAbstract:
As the use of mobile technologies, consumer electronics and the internet expand, there are more opportunities for young visual designers around the world to gain access to design industries. Yet differences in infrastructure and spatial configurations create distinct obstacles and opportunities for emerging designers from marginal contexts, as often these infrastructures are not designed with them in mind. Employing a practice perspective, which brings together concerns around identity and infrastructure, I used ethnographic and exploratory methods to understand the creative practices of a group of young, resource-constrained, aspiring creatives from Cape Town, South Africa, who are enrolled in design courses. This thesis explores tensions between authentic creativity and continuity, as well as notions of democratization in visual design practices. Off campus, young people predominantly appropriated mobile devices as infrastructure for creative practices. They used data frugally, grabbed media in patches and snippets, and used multiple free applications together to forge creative work, participation and distributions. These practices, which include mobile-based photography, design and branding, were situated in particular creative worlds, which revolved around distinctive visual styles. Instead of vast networks with flows of data that connect infinite nodes, these creatives experienced the web and digital media as an assemblage of technologies and tariffs for mobile data. Thus, these media-related practices were more ‘patchworked’ than networked. Once enrolled in design courses, a very different repertoire of protocols, standards, materials, technologies, concepts and ways of being became infrastructural to these young people’s participation in formal visual design practices. For many participants, an enduring distance separated them from those embodied, technical and spatial requirements for later professional participation in the design industries. These tensions demonstrated how very particular configurations of resources are infrastructural to visual design practice associated with formal industries. Infrastructure and practice are thus dynamically and asymmetrically mutually constituted. This thesis employs improvisational jamming to make the role of infrastructure visible, along with specific mobile design practices. Many of these mobile systems were standardized and encoded with cultural norms, giving creatives second-hand discourses from which to build their own creative artefacts. These case studies draw attention to the global standardization of infrastructures for creative practice, which threatens to flatten the cultural richness of local creative voices.
6
Baker, Carole. "Imaging the animal : visual media representation within creative practice." Thesis, University of Sunderland, 2000. http://sure.sunderland.ac.uk/5251/.
Full text
7
Willett, Rebekah Jane. "Children's use of popular media in their creative writing." Thesis, Institute of Education (University of London), 2001. http://eprints.ioe.ac.uk/7282/.
Full textAbstract:
This study is an examination of the social world of children's story writing, focusing on the way children use the agency offered to them in the context of the' writing process' pedagogy as a way of negotiating existing practices to position themselves in the discursive field of the classroom. Using methods from teacher-research and ethnographic traditions, I collected data from the class I was teaching, focusing on six children aged eight to nine. Data collection included observations of social interactions, photocopies of stories children wrote, interviews with children, group discussions, tape recordings of children talking while writing stories, and a diary of my experiences as a teacher-researcher. Using a form of discourse analysis, I focused on three areas in my data analysis: writing process, media consumption and production, and identity work. My analysis shows the ways children negotiate with and manipulate school practices in order to include their peer cultures in writing workshop, indicating children's understanding of school practices and concern with their social positions. In my study I show how popular media, a significant element of peer culture, is used by children in story writing as a way of establishing and defining personal identities and friendship groups. It is through friendships and often within the context of talk around media that children define, perform, and to some extent play with their gendered identities. The conclusions of my study point to a need for educators to recognise the way discursive practices of school create a very narrow definition of' acceptable stories' in classrooms. The practices problematise stories which contain media, and therefore teachers overlook and misunderstand many of the things children are doing during the process of writing media-based stories.
8
Lee, Pui Yuen. "Towards a triadic creative role : Hong Kong advertising creatives' responses to the rise of social media." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9870.
Full textAbstract:
The rise of social media has significant implications for the advertising industry, particularly for the relationships between marketers, consumers and advertising agencies. In fact, the entire advertising landscape has been developing in response to the emergence of digital technologies and advertising media, and the roles of these key stakeholders of the advertising industry and how they perform in the social media era are still not clear. Most previous research on this topic has focused on Western countries and adopted a macro perspective. In contrast, this study contributes to knowledge by focusing on an Asian context, and by exploring how social media are shaping the working lives of individual creatives who play a key role in the development of creative ideas and their expression across an increasingly diverse range of media. This study aimed to explore how and to what extent the work roles and identities of Hong Kong-based advertising creatives are changing in response to the rise of social media. As the study focused on creatives’ experiences, a qualitative, interpretive approach was taken. This involved 32 interviews with advertising creatives in agencies differing in size, digital focus and ownership, supplemented with participant observations in both a multinational full-service advertising agency (Agency-M) and an independent Hong-Kong digital agency (Agency R). The study has provided insights into creatives’ perspectives on their roles, identities, skill-sets and beliefs in relation to the rise of social media, and on the ways in which their relationships with clients and agency colleagues were changing as social media became more important. In particular, the study identified three key experiences of Hong Kong advertising creatives in relation to the rise of social media. First, they were found to have divergent role identities linked to their identification with traditional and digital communication agencies. Second, the rise of social media led them to experience new tensions in their relationships with clients. Finally, across both traditional and digital agencies in Hong Kong, the role of advertising creatives is beginning to transcend the digital/traditional distinction. This new hybrid role was found to involve creative switching between three identities over the course of the advertising development process: creative strategist, creative facilitator, and creative producer. Each of these role identities required more from them than the merging of ‘digital’ and ‘traditional’ creative skills; in particular, the creatives increasingly found themselves having to work closely with a broader range of stakeholders within and beyond their own agencies, requiring them to develop their interpersonal and negotiating skills. This research contributes to understanding the role and role identity in creative industries. It explores the many ways that social media are shaping advertising creatives’ working practices and identities, and it highlights the importance of cultural context to advertising practice. The triadic structure of contemporary Hong Kong advertising creatives’ roles identified here has implications for theorising advertising creativity, agency practice, and social media as a catalyst for individual and organisational identity and practices in the creative industries. The findings also have implications for advertising agency structure and practices, within and beyond the creative department.
9
Arıkan, Harun Burak. "Collective systems for creative expression." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36319.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.<br>Includes bibliographical references (p. 123-126).<br>This thesis defines collective systems as a unique category of creative expression through the procedures of micro and macro cycles that address the transition from connectivity to collectivity. This thesis discusses the necessary technology, context, and terminology, and provides a conceptual structure for the execution, discussion and evaluation of these procedures. This is supported through discussing the author's contribution to the OPENSTUDIO project and the Open I/O system.<br>by Harun Burak Arıkan.<br>S.M.
10
McGinn, Bonnie Gay. "Creative Matrix." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1366.
Full textBooks on the topic "Creative media"
6
L, Borden Diane, and Rivers William, eds. Creative editing for print media. Wadsworth Pub. Co., 1993.
Find full text
9
Sue, Warr, and ebrary Inc, eds. Teaching creative arts and media 14+. McGraw-Hill/Open University Press, 2011.
Find full text
10
1940-, Drake Margaret, ed. Crafts and creative media in therapy. 4th ed. SLACK, 2012.
Find full textBook chapters on the topic "Creative media"
1
Meikle, Graham, and Sherman Young. "Creative Audiences." In Media Convergence. Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35670-2_6.
Full text
2
Chow, Kenny K. N. "Creative Expression." In Animation, Embodiment, and Digital Media. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137283085_8.
Full text
3
Stephenson, Raquel Chapin. "Art Media." In Art Therapy and Creative Aging. Routledge, 2021. http://dx.doi.org/10.4324/9780429352751-8-8.
Full text
4
Keaveney, Jenny, and Bruce Woodcock. "Creative and media CVs." In Graduate CVs and Covering Letters. Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60627-3_8.
Full text
5
Connolly, Steve, and Mark Readman. "Towards ‘Creative Media Literacy’." In International Handbook of Media Literacy Education. Routledge, 2017. http://dx.doi.org/10.4324/9781315628110-21.
Full text
6
Elavarthi, Sathya Prakash, and Sunitha Chitrapu. "Media as Creative Industries." In Media Economics and Management. Routledge India, 2021. http://dx.doi.org/10.4324/9781003199212-9.
Full text
7
Miller, Carolyn Handler. "New Media Writing." In A Companion to Creative Writing. John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch8.
Full text
8
Berry, Marsha. "Creative Practice Meets Ethnography." In Creating with Mobile Media. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65316-7_1.
Full text
9
Vogel, Thomas. "The role of creative thinking and creative process in media management: insights from educators and practitioners." In Media Management. Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-23297-9_13.
Full text
10
Zettersten, Arne. "New Media." In J.R.R. Tolkien’s Double Worlds and Creative Process. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118409_22.
Full textConference papers on the topic "Creative media"
1
Qonitatulhaq, Syarifah, Novita Astin, and Widi Sarinastiti. "Creative Media for Cyberbullying Education." In 2019 International Electronics Symposium (IES). IEEE, 2019. http://dx.doi.org/10.1109/elecsym.2019.8901646.
Full text
2
Naukkarinen, Anne, Jenna Sutela, Andrea Botero, and Kari-Hans Kommonen. "Designing locative media for creative misuse." In the 13th International MindTrek Conference: Everyday Life in the Ubiquitous Era. ACM Press, 2009. http://dx.doi.org/10.1145/1621841.1621865.
Full text
3
Tutiasri, Ririn Puspita, Syafrida Nurrachmi Febriyanti, Ahmad Fahri Huzain, and Abizard Sakti Nugroho. "Creative Marketing Strategies of Sembung Batik." In 2nd International Media Conference 2019 (IMC 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.030.
Full text
4
Wang, Naiyu, and Luke Hespanhol. "Developing an Intuitive Website for Prototyping Creative Media Facade Content." In MAB18: Media Architecture Biennale. ACM, 2018. http://dx.doi.org/10.1145/3284389.3303995.
Full text
5
Sabrina, Nadhilla, and Syarip Hidayat. "Design of Visual Communication Media as Learning Hadith Since Early Age." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.68.
Full text
6
Kynigos, Chronis, and Foteini Moustaki. "Designing digital media for creative mathematical learning." In IDC'14: Interaction Design and Children 2014. ACM, 2014. http://dx.doi.org/10.1145/2593968.2610479.
Full text
7
Safitri, Merina, and Sunu Kuntjoro. "Metacognitive Strategies to Train Creative Thinking Skills in Creating Media for Learning." In Mathematics, Informatics, Science, and Education International Conference (MISEIC 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/miseic-18.2018.56.
Full text
8
Hartmann, Mutfried, Thomas Borys, Tetsushi Kawasaki, and Hidemichi Okamoto. "Observing Creative Characteristics in Solving Fermi-Tasks by the Modelling and Creating Activity Diagram." In 2019 International Joint Conference on Information, Media and Engineering (IJCIME). IEEE, 2019. http://dx.doi.org/10.1109/ijcime49369.2019.00109.
Full text
9
Puspitasari, Indah Rendi, and Runik Machfiroh. "Designing Promotion Of Oat 8 To Reduce Obesity Risk For Woman Through Digital Media." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.55.
Full text
10
Masnuna, Lily Syahrial, and Dyan Agustin. "Development of Print and Illustration Laboratories Using Creative Tools." In 2nd International Media Conference 2019 (IMC 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.024.
Full textReports on the topic "Creative media"
1
Ivanova, Iryna, and Elena Afanasieva. MODEL OF INTERACTION BETWEEN ADVERTISING, PR AND JOURNALISM. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11060.
Full textAbstract:
The article is an overview of the journalism – PR – advertising relationship at the terminological, empirical-analytical and practical levels. It traces the state of the discussion of these correlations in the post-soviet media such as Ukraine. The study describes that domesticating the importance of the appropriate partnership between the three communication technologies. The thesis is that journalism, advertising and PR create a mutual connection that takes place in an atmosphere of PR and advertising permissiveness and deepens with the development of digitalization, Social network development. The present research is based on a comprehensive approach. The inductive and deductive methods are adopted to discuss theoretical materials, and the interdisciplinary research method is used to detect PR-specific features as a philosophy of a new journalism project. The interpretive approach, usually employed to analyze media text as a complex synthetic structure, was also taken into consideration. The analytical method application identified the modern means of substantiating the ideological, esthetical and informative value of brand journalism and spin doctor. The innovative character of modern media as a behavioral strategy in the advertising and PR industry consists in the fact that it is a form of creative production and behavior rather than adapting a specific communication situation. The article examines the main directions of contemporary interactions between PR, advertising and journalism as a media content creation. In this context, it is asserted that advertising, journalism and PR activities can contribute to the creation of media content. At some point, good media content is achieved not only as a result of this competition but also from the correlation between PR, advertising and journalism.
2
Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Full textAbstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
3
Baird, Natalie, Tanushree Bharat Shah, Ali Clacy, et al. maths inside Resource Suite with Interdisciplinary Learning Activities. University of Glasgow, 2021. http://dx.doi.org/10.36399/gla.pubs.234071.
Full textAbstract:
Maths inside is a photo competition open to everyone living in Scotland, hosted by the University of Glasgow. The maths inside project seeks to nourish a love for mathematics by embarking on a journey of discovery through a creative lens. This suite of resources have been created to inspire entrants, and support families, teachers and those out-of-school to make deeper connections with their surroundings. The maths inside is waiting to be discovered! Also contained in the suite is an example to inspire and support you to design your own interdisciplinary learning (IDL) activity matched to Education Scotland experiences and outcomes (Es+Os), to lead pupils towards the creation of their own entry. These resources are not prescriptive, and are designed with a strong creativity ethos for them to be adapted and delivered in a manner that meets the specific needs of those participating. The competition and the activities can be tailored to meet all and each learners' needs. We recommend that those engaging with maths inside for the first time complete their own mapping exercise linking the designed activity to the Es+Os. To create a collaborative resource bank open to everyone, we invite you to treat these resources as a working document for entrants, parents, carers, teachers and schools to make their own. Please share your tips, ideas and activities at info@mathsinside.com and through our social media channels. Past winning entries of the competition are also available for inspiration and for using as a teaching resource. Already inspired? Enter the competition!
4
Hotsur, Oksana. SOCIAL NETWORKS AND BLOGS AS TOOLS PR-CAMPAIGN IMPLEMENTATIONS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11110.
Full textAbstract:
The article deals with the ways in which social networks and the blogosphere influence the formation and implementation of a PR campaign. Examples from the political sphere (election campaigns, initiatives), business (TV brands, traditional and online media) have revealed the opportunities that Facebook, Telegram, Twitter, YouTube and blogs promote in promoting advertising, ideas, campaigns, thoughts, or products. Author blogs created on special websites or online media may not be as much of a tool in PR as an additional tool on social media. It is noted that choosing a blog as the main tool of PR campaign has both positive and negative points. Social networks intervene in the sphere of human life, become a means of communication, promotion, branding. The effectiveness of social networks has been evidenced by such historically significant events as Brexit, the Arab Spring, and the Revolution of Dignity. Special attention was paid to the 2019 presidential election. Based on the analysis of individual PR campaigns, the reasons for successful and unsuccessful campaigns from the point of view of network communication, which provide unlimited multimedia and interactive tools for PR, are highlighted. In fact, these concepts significantly affect the effectiveness of the implementation of PR-campaign, its final effectiveness, which is determined by the achievement of goals. Attention is drawn to the culture of communication during the PR campaign, as well as the concepts of “trolls”, “trolling”, “bots”, “botoin industry”. The social communication component of these concepts is unconditional. Choosing a blog as the main tool of a marketing campaign has both positive and negative aspects. Only a person with great creative potential can run and create a blog. In addition, it takes a long time. In fact, these two points are losing compared to other internet marketing tools. Further research is interesting in two respects. First, a comparison of the dynamics of the effectiveness of PR-campaign tools in Ukraine in 2020 and in the past, in particular, at the dawn of state independence. Secondly, to investigate how/or the concept of PR-campaigns in social networks and blogs is constantly changing.
5
Yatsymirska, Mariya. KEY IMPRESSIONS OF 2020 IN JOURNALISTIC TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11107.
Full textAbstract:
The article explores the key vocabulary of 2020 in the network space of Ukraine. Texts of journalistic, official-business style, analytical publications of well-known journalists on current topics are analyzed. Extralinguistic factors of new word formation, their adaptation to the sphere of special and socio-political vocabulary of the Ukrainian language are determined. Examples show modern impressions in the media, their stylistic use and impact on public opinion in a pandemic. New meanings of foreign expressions, media terminology, peculiarities of translation of neologisms from English into Ukrainian have been clarified. According to the materials of the online media, a «dictionary of the coronavirus era» is provided. The journalistic text functions in the media on the basis of logical judgments, credible arguments, impressive language. Its purpose is to show the socio-political problem, to sharpen its significance for society and to propose solutions through convincing considerations. Most researchers emphasize the influential role of journalistic style, which through the media shapes public opinion on issues of politics, economics, education, health care, war, the future of the country. To cover such a wide range of topics, socio-political vocabulary is used first of all – neutral and emotionally-evaluative, rhetorical questions and imperatives, special terminology, foreign words. There is an ongoing discussion in online publications about the use of the new foreign token «lockdown» instead of the word «quarantine», which has long been learned in the Ukrainian language. Research on this topic has shown that at the initial stage of the pandemic, the word «lockdown» prevailed in the colloquial language of politicians, media personalities and part of society did not quite understand its meaning. Lockdown, in its current interpretation, is a restrictive measure to protect people from a dangerous virus that has spread to many countries; isolation of the population («stay in place») in case of risk of spreading Covid-19. In English, US citizens are told what a lockdown is: «A lockdown is a restriction policy for people or communities to stay where they are, usually due to specific risks to themselves or to others if they can move and interact freely. The term «stay-at-home» or «shelter-in-place» is often used for lockdowns that affect an area, rather than specific locations». Content analysis of online texts leads to the conclusion that in 2020 a special vocabulary was actively functioning, with the appropriate definitions, which the media described as a «dictionary of coronavirus vocabulary». Media broadcasting is the deepest and pulsating source of creative texts with new meanings, phrases, expressiveness. The influential power of the word finds its unconditional embodiment in the media. Journalists, bloggers, experts, politicians, analyzing current events, produce concepts of a new reality. The world is changing and the language of the media is responding to these changes. It manifests itself most vividly and emotionally in the network sphere, in various genres and styles.
6
Ross, Kassandra, and Young-A. Lee. Social Media Era Consumers' Identity Formation: A Symbolic Interactionist Approach to Consumer-Brand Identity Co-creation. Iowa State University. Library, 2019. http://dx.doi.org/10.31274/itaa.8790.
Full text
7
Gates, Allison, Michelle Gates, Shannon Sim, Sarah A. Elliott, Jennifer Pillay, and Lisa Hartling. Creating Efficiencies in the Extraction of Data From Randomized Trials: A Prospective Evaluation of a Machine Learning and Text Mining Tool. Agency for Healthcare Research and Quality (AHRQ), 2021. http://dx.doi.org/10.23970/ahrqepcmethodscreatingefficiencies.
Full textAbstract:
Background. Machine learning tools that semi-automate data extraction may create efficiencies in systematic review production. We prospectively evaluated an online machine learning and text mining tool’s ability to (a) automatically extract data elements from randomized trials, and (b) save time compared with manual extraction and verification. Methods. For 75 randomized trials published in 2017, we manually extracted and verified data for 21 unique data elements. We uploaded the randomized trials to ExaCT, an online machine learning and text mining tool, and quantified performance by evaluating the tool’s ability to identify the reporting of data elements (reported or not reported), and the relevance of the extracted sentences, fragments, and overall solutions. For each randomized trial, we measured the time to complete manual extraction and verification, and to review and amend the data extracted by ExaCT (simulating semi-automated data extraction). We summarized the relevance of the extractions for each data element using counts and proportions, and calculated the median and interquartile range (IQR) across data elements. We calculated the median (IQR) time for manual and semiautomated data extraction, and overall time savings. Results. The tool identified the reporting (reported or not reported) of data elements with median (IQR) 91 percent (75% to 99%) accuracy. Performance was perfect for four data elements: eligibility criteria, enrolment end date, control arm, and primary outcome(s). Among the top five sentences for each data element at least one sentence was relevant in a median (IQR) 88 percent (83% to 99%) of cases. Performance was perfect for four data elements: funding number, registration number, enrolment start date, and route of administration. Among a median (IQR) 90 percent (86% to 96%) of relevant sentences, pertinent fragments had been highlighted by the system; exact matches were unreliable (median (IQR) 52 percent [32% to 73%]). A median 48 percent of solutions were fully correct, but performance varied greatly across data elements (IQR 21% to 71%). Using ExaCT to assist the first reviewer resulted in a modest time savings compared with manual extraction by a single reviewer (17.9 vs. 21.6 hours total extraction time across 75 randomized trials). Conclusions. Using ExaCT to assist with data extraction resulted in modest gains in efficiency compared with manual extraction. The tool was reliable for identifying the reporting of most data elements. The tool’s ability to identify at least one relevant sentence and highlight pertinent fragments was generally good, but changes to sentence selection and/or highlighting were often required.
8
Pavlyuk, Ihor. MEDIACULTURE AS A NECESSARY FACTOR OF THE CONSERVATION, DEVELOPMENT AND TRANSFORMATION OF ETHNIC AND NATIONAL IDENTITY. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11071.
Full textAbstract:
The article deals with the mental-existential relationship between ethnoculture, national identity and media culture as a necessary factor for their preservation, transformation, on the example of national original algorithms, matrix models, taking into account global tendencies and Ukrainian archetypal-specific features in Ukraine. the media actively serve the domestic oligarchs in their information-virtual and real wars among themselves and the same expansive alien humanitarian acts by curtailing ethno-cultural programs-projects on national radio, on television, in the press, or offering the recipient instead of a pop pointer, without even communicating to the audience the information stipulated in the media laws − information support-protection-development of ethno-culture national product in the domestic and foreign/diaspora mass media, the support of ethnoculture by NGOs and the state institutions themselves. In the context of the study of the cultural national socio-humanitarian space, the article diagnoses and predicts the model of creating and preserving in it the dynamic equilibrium of the ethno-cultural space, in which the nation must remember the struggle for access to information and its primary sources both as an individual and the state as a whole, culture the transfer of information, which in the process of globalization is becoming a paramount commodity, an egregore, and in the post-traumatic, interrupted-compensatory cultural-information space close rehabilitation mechanisms for national identity to become a real factor in strengthening the state − and vice versa in the context of adequate laws («Law about press and other mass media», Law «About printed media (press) in Ukraine», Law «About Information», «Law about Languages», etc.) and their actual effect in creating motivational mechanisms for preserving/protecting the Ukrainian language, as one of the main identifiers of national identity, information support for its expansion as labels cultural and geostrategic areas.
9
Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
Full textAbstract:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
10
Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.
Full textAbstract:
The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.