Academic literature on the topic 'Creative Producer'
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Journal articles on the topic "Creative Producer"
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Williams, Melanie. "The Creative Producer: Frank Godwin." Journal of British Cinema and Television 4, no. 1 (2007): 140–49. http://dx.doi.org/10.3366/jbctv.2007.4.1.140.
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Glennon, Mike. "Consumer, Producer, Creator: The mixtape as creative form." Organised Sound 24, no. 02 (2019): 164–73. http://dx.doi.org/10.1017/s1355771819000207.
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The medium and genre of the mixtape, a form dependent upon borrowed, repurposed and re-contextualised sonic material, has recently re-emerged as a vital component of contemporary commercial and creative music culture. This article suggests that analysis of the mixtape’s history and ethos can provide useful insight into ongoing tensions between cultures of active and passive listening, questions of ownership with regard to recorded sound and between the roles of producer and consumer within contemporary audio culture. It also proposes, via reference to relevant contemporary works, that the mixtape may now be considered a vital hybrid creative form, part composition/part compilation, with which composers, producers and sonic artists may actively engage. It historically and culturally contextualises this form, placing it within a lineage of military, political, creative and commercial conflict, which, among recorded sound technologies, is unique to tape and shows that the mixtape may be seen as an expression or utilisation of these factors. Consistent commercial and industrial efforts to suppress tape’s subversive qualities are outlined as are creative methodologies which have been adopted to resist such efforts. Contemporary music industry strategies to channel and commodify the aura and ethos of the mixtape as forerunner of the curated playlists vital to its current business model are detailed and contemporary cassette culture is considered as an alternative inheritor of the mixtape’s legacy and as alternative model for future musical creation and distribution. Finally, a set of characteristics which distinguish the mixtape as a creative form are identified and their potential application and implications are discussed.
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Grin, E. S., and V. A. Alekseeva. "Organizer of Creation of a Complex Object of Intellectual Property Rights: Problems of Theory and Practice." Actual Problems of Russian Law, no. 7 (July 1, 2018): 123–28. http://dx.doi.org/10.17803/1994-1471.2018.92.7.123-128.
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In the Russian Federation, a person who organized the creation of a complex object is not the author of such an object. Traditionally, civil law distinguishes a triumvirate of authors of a complex object on the example of one of its type - an audiovisual work. A production director, scriptwriter and composer who created music specially for this work are recognized as authors. However, the foreign legislation of some states has a different approach to this issue. In the article, on the example of such a participant as a producer, the author considers the problem of determining his legal status, since in the countries of the Anglo-American legal system a producer is considered to be the author of the movie. The article highlights that the person responsible for the organization of the process of creating such an object, in particular, the person who took the initiative and responsibility for the creation of the relevant object (not only financial contribution but also creative one), may be considered to be the author provided he makes a creative contribution to the creation of a complex object.
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Schack, Gina D. "Self-Efficacy as a Mediator in the Creative Productivity of Gifted Children." Journal for the Education of the Gifted 12, no. 3 (1989): 231–49. http://dx.doi.org/10.1177/016235328901200306.
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This study investigated the relationship between self-efficacy as a creative producer and initiation of independent investigations in areas of personal interest. Subjects were 294 students in grades four through eight who were participants in gifted programs based on the Enrichment Triad Model in eight schools. Path analysis was used to test the influence of grade, sex, years in the gifted program, previous independent projects, self-efficacy as a creative producer before and after a research methodology mini-course, and initiation of an independent project on final efficacy scores as a creative producer. The second analysis examined the role of the first six variables and participation in the research methodology mini-course on subsequent initiation of an independent project. Self-efficacy as a creative producer was a significant predictor of initiation of independent projects and final self-efficacy as a creative producer was higher for students who participated in such projects. The effect of treatment on self-efficacy as a creative producer or subsequent initiation of independent projects was not significant for students who had not started an independent project before the mini-course began, when considered with the other variables in the causal model.
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Mukhin, A. V., G. E. Ganina, Yu A. Ostrovskiy, and A. P. Yakovleva. "Influence of bespoke non-commodity production on the development strategy of production systems." Glavnyj mekhanik (Chief Mechanic), no. 12 (December 1, 2020): 23–32. http://dx.doi.org/10.33920/pro-2-2012-02.
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The paper presents a new approach to the development strategy of the production system based on a formalized description of bifurcations that occur in the creative activity of specialists. The goal of the development of the production system in an effort to approach the concept of a bespoke non-commodity production is justified. It is shown that an effective producer of the strategic development process is a "bifurcation producer", which in turn is the fruit of creative activity. As the first measure of evaluating the effectiveness of the strategy for the development of the production system, an approximate method for calculating the similarity coefficient of bifurcation producers to bespoke non-commodity production is proposed.
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Mukhin, Aleksandr Vasilievich, Valery Glebovich Larionov, Galina Eduardovna Ganina, Yuri Andreevich Ostrovskij, and Anna Petrovna Yakovleva. "Influence of image of individual paper-only production on strategy of production system develop-ment." Vestnik of Astrakhan State Technical University. Series: Economics 2020, no. 2 (2020): 28–37. http://dx.doi.org/10.24143/2073-5537-2020-2-28-37.
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The paper presents a new approach to the development strategy of the production system based on a formalized description of bifurcations arising in the creative activities of specialists as part of the solution to the problem of assessing the usefulness of targeted changes in the principles and approaches in the organization of production. In the framework of the producer-production approach to the analysis of production, the term bifurcation producer is proposed, describing a targeted change affecting the development of production. An important task is found to create a unified model that describes the relationship between a person as a thinking active subject and production. This description allows making objective decisions on the production development strategy. A formal-logical apparatus is proposed, that uses as identifiers the characteristics deter-mining the image of production or thought activity, which includes creation of a description mech-anism on the basis of common identifiers for the decision-making model for the production development strategy. There has been illustrated the scheme of interaction of an active thinking person and production. A formal logical apparatus is proposed, using identifiers as characteristics determining the image of production activity or mental activity; including the creation of a description mechanism based on common identifiers for a decision-making model for a production development strategy. The choice of the development strategy of the production system is proposed to be carried out on the basis of the methodology of structural similarity of production types. A similarity matrix for the similarity of bifurcation producers is presented, which contains the following bifurcation producers: ergatic model of transformation of production, division of labor, in-line production, technological specialization, ergodynamic cooperative. The purpose of the development of the production system in the desire to approach the appearance of individual-paper-only production has been substantiated. It is stated that the efficient producer of the strategic development process is the bifurcation producer, which is the result of creative activity. As a primary measure of performance of strategy of development 
 of production system there has been proposed the approximate method of calculating the similarity factor of the bifurcation producers for the individual paper-only production.
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Milligan, Christina. "Expanding the dialogue: The producer as part of the creative triangle." Journal of Screenwriting 8, no. 1 (2017): 23–37. http://dx.doi.org/10.1386/josc.8.1.23_1.
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Starnes, Kathryn. "The case for creative folklore in pedagogical practice." Art & the Public Sphere 10, no. 2 (2021): 225–32. http://dx.doi.org/10.1386/aps_00061_1.
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The political question of who can produce knowledge and how we delineate epistemological standards without reproducing epistemic marginalization is central to critical pedagogy in international relations (IR) scholarship. While critical pedagogies often attempt to enact an emancipatory agenda, they largely rely on the educator as knowledge (re)producer and student as passive consumer, with little to say on what it means to be emancipated, the oppressions at stake or the means of enacting this project. Drawing on Simon Bronner’s definition of folklore, this article explores folklore as a creative practice allowing us to explore who the ‘folk’ are in the process of teaching and how we constitute disciplinary ‘lore’ to incite students to revise and reflect on disciplinary boundaries. The article focuses on IR pedagogy as a creative practice, arguing that deploying a folklore lens allows us to challenge the uncritical reproduction of disciplinary boundaries.
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Sutton, Carrie. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 203–10. http://dx.doi.org/10.33178/alpha.19.18.
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Carrie Sutton is a freelance directors’ representative working with independent creatives as well as music video directors signed to Biscuit Filmworks, Blindeye Films, Good Co., Kode Media, Rankin and The Graft. In her role as Music Video Commissioner, she has commissioned videos for Blur, Tina Turner, Pet Shop Boys, Snow Patrol and Robbie Williams amongst many others, with artists picking up 3 Brit Awards for Best Video, an MTV Award and a D&AD Yellow Pencil Nomination. In 2018, she was awarded the ‘Outstanding Achievement’ award at the UK Music Video Awards in recognition of her career as a Creative Commissioner, Directors’ Rep., Executive Producer and Producer
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Meir, Christopher. "Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED." Journal of British Cinema and Television 16, no. 3 (2019): 305–26. http://dx.doi.org/10.3366/jbctv.2019.0479.
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Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.
Dissertations / Theses on the topic "Creative Producer"
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Pinxit-Gregg, Quinty. "The transdisciplinary creative producer: The role and practice of a creative producer in festivals; emerging and ever-evolving." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/207338/1/Quinty_Pinxit-Gregg_Thesis.pdf.
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This research project defines specific attributes and characteristics that reflect the creative role and professional practice of a Transdisciplinary Creative Producer in the context of festivals. Bridging the gap between contrasting disciplines such as art and business, highlighting an ‘in-between’, a Creative Producer encapsulates a multitude of disciplinary knowledge. By using transdisciplinary practices combined with servant-leadership the role is subject to leading large teams. The outcome of the research is derived through a practice-led methodology and uses three case-studies of three significant festivals in 2018: Brisbane Street Art Festival, Jungle Love Music and Arts Festival, and Ars Electronica Futurelab Academy.
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Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry." Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.
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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.
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Laube, Jacob M. "Understanding artist development: How do producers support the development of artists through the production process?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.
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This thesis examines the concept of 'artist development' in music, identifying how musicians develop through the production process, and the role that the producer can play in such development. The study outlines the history of artist development in the music industry and the role of the record producer as an auteur figure, connecting this broad context with creative practice through the production of two EP recordings. Reflecting on artist development from the perspective of producer, the author identifies key elements of the production process that can contribute to the development of artists in a studio setting.
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Lindahl, Ingela. "Visual aesthetics in product development : A balance between commercial and creative imperatives." Doctoral thesis, Linköpings universitet, Industriell ekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-100149.
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The literature presents a number of advantages regarding companies’ strategic focus on product design, arguing that the dimension of visual aesthetics in products may help a company to create commercial success, e.g. through product differentiation and as a means of company brand recognition. However, developing new products that have visual aesthetics as an important dimension is not without difficulty, and may lead to a number of managerial challenges. The purpose of this doctoral thesis is to describe and analyse how companies develop products that have visual aesthetics as an important dimension. The thesis describes and analyses: how the dimension of visual aesthetics affects the characteristics of the new product development process; how companies strike a balance between commercial and creative imperatives during new product development; and how companies source and collaborate using artistic design resources during new product development. Based on findings from five new product development projects and from interviews with managers at twelve Swedish designer furniture manufacturers, the thesis concludes that the dimension of visual aesthetics in products affects new product development in different ways. First, companies’ development of visual aesthetics calls for a more creative, artistic development process whereby, for example, idea generation and evaluation are often flexible in relation to plans made. Moreover, the different and subjective judgement of the aesthetic value of products has implications for new product development, e.g. that the company needs to address and balance imperatives stemming from different audiences, i.e. the designer’s self, peers, and the mass market, during product development. Also, it is concluded that the sourcing of designer resources and the composition of designer portfolios are both critical and related to companies’ desired brand image. A close and trustful working relationship between the designer and the manufacturer is a basis for companies’ successful product development. Theoretically, this research contributes to the product development literature through its findings on companies’ new product development processes in a seldom researched context, i.e. the development of designer products. Additionally, it contributes to the literature on design outsourcing by presenting new findings on the interplay between artistic design resources and managers. Moreover, it also contributes to the marketing literature by providing fresh insights into how companies balance their commercial and creative interests when developing new products.<br>Design och dess relation till företags marknadsföring är något som diskuteras både i akademisk litteratur och i samhället i övrigt. Genom att förstå och utnyttja design kan företaget skapa kommersiella fördelar, t ex genom att differentiera produkten från konkurrenternas och skapa igenkänning för företagets varumärke. Dock är utveckling av produkter med design som en viktig dimension inte oproblematisk utan kan leda till stora utmaningar för företaget. Tre sådana utmaningar i företag beskrivs och analyseras i denna avhandling. För det första behandlar avhandlingen hur ett fokus på design påverkar företagets produktutvecklingsprocess. Vidare studeras hur företaget balanserar kreativa och kommersiella intressen under produktutvecklingsprocessen. Dessutom behandlar avhandlingen hur företaget införskaffar och samarbetar med formgivare. Den industriella kontext som valts för denna avhandling är den svenska designmöbelindustrin. Avhandlingens slutsatser bygger på fallstudier inom väletablerade och framgångsrika företag inom denna industri. Avhandlingen visar att dimensionen av design påverkar företagens utvecklingsarbete på olika sätt. Först visar studien att de studerade företagens utveckling av designmöbler innebär en kreativ utvecklingsprocess där t.ex. idé-generering och ‑urval sällan grundas i strikta produktplaner utan i stället präglas av flexibilitet och tillvaratagande på uppkomna möjligheter. Vidare är bedömningen av en produkts designvärde subjektiv och svår att formulera i ord. Urvalet av lovande produktidéer grundas därför i hög grad på ledningens goda kunskap om design och erfarenhet inom branschen. Utöver detta påverkas företagens produktutveckling på olika sätt av det faktum att designvärde också skapas genom uppmärksamhet och uppskattning av exempelvis press, mässor och utmärkelser. Det visas också att företagens urval av formgivare är kritiskt och basen för ett framgångsrikt utvecklingsarbete. I de studerade företagen sker utveckling av produkter i nära och förtroendefullt samarbete mellan managers och formgivare. Dessutom kan företag påverka sitt varumärke genom att skapa en genomtänkt strategi för urval av formgivare och samarbetsformer med dessa.
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Hirunyawipada, Tanawat Paswan Audhesh K. "How componential factors and constraint enhance creativity in the development of new product ideas." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3964.
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Ainsworth, Rodney Phillip. "The entrepreneurial playwright : a relational approach to marketing plays in the regions." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19241/1/Rodney_Ainsworth_Thesis.pdf.
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This exegesis examines the proposition that playwriting is an entrepreneurial activity when combined with the role of producer. The thesis demonstrates that, when a playwright combines the two roles and considers the development of a network of relationships in the process, positive steps can be made towards the marketing of a work and the career progression of the playwright. The issues of marketing and career progression are considered in a regional context.
The thesis comprises the creation of a full-length theatrical work through the MA (Research) Program at Queensland University of Technology and an analysis of that journey in the context of regional theatre practice in Queensland. Nicolas Bourriaud’s theory of the Relational Aesthetic is used as a way of charting my practice and of examining how this approach might be appropriate to theatre-making in regional Australia. The paper establishes strategies by which the playwright, when also undertaking the role of producer, might manage the complex set of circumstances and interactions between the work, the community and the industry.
Using practice-led research methodologies, the exegesis examines the process of the creation of a new play, Sinking, and explores, through the use of an autobiographical case study, what the process has meant to the author’s development as a playwright over a fifteen month period. The paper uses a network map to explore the interactions created through a rehearsed reading of the first draft of the play in October 2006 and, in doing so, demonstrates how a close engagement with the community formed the basis of the entrepreneurial strategy.
The exegesis demonstrates that Bourriaud’s work connects very closely with the author’s practice and examines how the approach might be useful for other regional arts practitioners, particularly those in the early stages of their careers. The research aims to identify how the creation of the play, and the subsequent interactions generated within a regional community, can lead to opportunities to create connections both within the author’s place of residence and in broader theatre industry contexts, nationally and internationally, in order to provide commercial and professional outcomes.
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Ainsworth, Rodney Phillip. "The entrepreneurial playwright : a relational approach to marketing plays in the regions." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19241/.
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This exegesis examines the proposition that playwriting is an entrepreneurial activity when combined with the role of producer. The thesis demonstrates that, when a playwright combines the two roles and considers the development of a network of relationships in the process, positive steps can be made towards the marketing of a work and the career progression of the playwright. The issues of marketing and career progression are considered in a regional context.
The thesis comprises the creation of a full-length theatrical work through the MA (Research) Program at Queensland University of Technology and an analysis of that journey in the context of regional theatre practice in Queensland. Nicolas Bourriaud’s theory of the Relational Aesthetic is used as a way of charting my practice and of examining how this approach might be appropriate to theatre-making in regional Australia. The paper establishes strategies by which the playwright, when also undertaking the role of producer, might manage the complex set of circumstances and interactions between the work, the community and the industry.
Using practice-led research methodologies, the exegesis examines the process of the creation of a new play, Sinking, and explores, through the use of an autobiographical case study, what the process has meant to the author’s development as a playwright over a fifteen month period. The paper uses a network map to explore the interactions created through a rehearsed reading of the first draft of the play in October 2006 and, in doing so, demonstrates how a close engagement with the community formed the basis of the entrepreneurial strategy.
The exegesis demonstrates that Bourriaud’s work connects very closely with the author’s practice and examines how the approach might be useful for other regional arts practitioners, particularly those in the early stages of their careers. The research aims to identify how the creation of the play, and the subsequent interactions generated within a regional community, can lead to opportunities to create connections both within the author’s place of residence and in broader theatre industry contexts, nationally and internationally, in order to provide commercial and professional outcomes.
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Wegmershaus, Luciano John Paul. "Design for commercialisation : enabling innovative product ideas through supportive creative environments." Thesis, Cape Peninsula University of Technology, 2015. http://hdl.handle.net/20.500.11838/2407.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2015.<br>Design as a field of practice is constantly evolving and has predominantly
been used to stimulate and facilitate the humanisation of new
technologies, so that they are usable and desirable for the capitalist
economy (Boehnert, 2013, p. 14). With the evolution of the commercial
and economic systems, the role of the designer now needs a shift so that
it is able to facilitate new and appropriate interactions (Manzini, 2015, p.
180). This thesis explores what some of those interactions may look like
and the role that design may be able to play in assisting them.
Enabling society to be better equipped to communicate and collaborate
with industry and academia, and vice versa, may be beneficial. The more
society’s contributions can be heard, acknowledged and implemented,
the better the economy may function. Increasing the transparency and
understanding of these systems would potentially allow for less corruption
and greater collaboration within and between them, possibly allowing for
improved innovation. Once entrepreneurs are better equipped to
integrate and take advantage of the institutional structures that are in
place, this could drive economic development forward, and more
informed and effective decisions might be implemented. Institutionally,
through a better understanding of their resources and networks, such
research could also lead to the implementation of better management
and leadership strategies. This thesis focuses on the role of design as a catalyst for product
development in the Western Cape. The concept of enabling innovative
product ideas through design is analysed through an examination of three
current case studies being developed in this region. To contextualise this
a bit further, what is examined are the processes, developments and
relationships, within and across the structures of the university, civil
society and the design industry. This is explored to identify how each of
these groups may support the design process, and where they may
inhibit it. The primary objective is to provide a foundational road-map to enable
innovative ideas from which citizen projects, universities and the design
industry may benefit and continue to build upon. In this way, it may be
possible to create a more synergetic relationship between universities,
the design industry and civil society, or at least to make that relationship
more transparent and mutually beneficial.
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Hirunyawipada, Tanawat. "How componential factors and constraint enhance creativity in the development of new product ideas." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3964/.
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New product ideation is the transformation of a raw idea into a robust concept with consideration of fit and feasibility of technologies, customer benefits, and market opportunity. Although the ideation process often involves ambiguous processes, it is the most critical activity in new product development (NPD). As a creativity task, the ideation process is considered heuristic rather than algorithmic. However, managing the ideation process as either a completely heuristic or an entirely algorithmic procedure leads to just conventional outcomes. Rooted in cognitive psychology, this study proposes that ideation activities in NPD should be pursued as Simonton's "constrained stochastic behavior." An ideation task not only needs good componential factors but also requires constraint to frame the task by precluding unwieldy ideas while promoting high variability of ideas. Focusing on the inputs and attempting to strike a balance between algorithmic and heuristic ideation process may provide the mechanisms to manage the psychological perceptions with an aim to stimulate and orchestrate the ideation staff's cognitive efforts to generate the creative idea. To achieve this goal, new product idea creativity is considered as the ideas that could turn out to be products that are novel to and useful for customers, and appropriate to firms' existing production systems. In addition, the study asserts that componential factors include two factors: specialization representing idea creators' depth of NPD knowledge, experience, and skills in a product domain, and diverse expertise representing the breadth of ideation team's knowledge, experience, and skills concerning the same domain of NPD. These factors are essential and collectively can enhance creativity in the development of new product ideas. Finally, goal constraint is defined, operationalized, and incorporated in the NPD ideation framework. This constraint encapsulates the overall criteria and stylistic principle for a particular product domain and reflects the frame of reference for new product idea development. The findings provide mixed results, and yield at least three new concepts. First, the process of new product idea development truly requires specialization and diverse expertise if its ultimate goal is creativity. Both componential factors are essential and together can enhance new product ideas on all important dimensions. Second, goal constraint exhibits a linear relationship, rather than an inverted U-curve relationship, with idea newness and usefulness-two dimension of creativity important for customers. Finally, goal constraint can enhance creative outcomes of new product ideas, especially in the ideation team exhibiting a low level of specialization.
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Kühlenthal, Jessica Courtney. "Mapping product design as a transdisciplinary service." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2829.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2018.<br>Design is a highly complex process. It involves various stakeholders, processes and interactions that need to work coherently in order to result in a successful design or product. It needs to be acknowledged that offering design as a successful service is not simply an interaction between a customer and a single designer, but in reality is far more complex and detailed. In today’s society, it is no longer sufficient for design-businesses to only focus on providing a well designed end product. Instead, customers now seek value in superior experiences from the services they use. Design-businesses thus need to shift their current outward focus to also create and design superior service experiences. Owing to the intangible complexities and intricacies within design as a
service it makes it incredibly challenging to improve or enhance. Skeg Product Development, a leader in the Product design industry in South Africa, was used as a single case study to offer a real-world working context of Product design as a service. This study used purposefully selected Service design tools and techniques, such as the customer journey and service blueprint, for co-design workshops. Three workshops were facilitated in order to co-design maps with employees from various functions within the case study. Workshop 1 required participants to map their ideal customer journey. This was used to identify an area of focus within the case study that would benefit the most from improved visualisation. Workshop 2 and 3 used a service blueprint
to map the existing front of stage- and backstage interactions and processes respectively. The mapped findings were supplemented by informal interviews with employees as well as continuous observations within the case study. It was found that Product design as a service, although the experience is subjective to each customer and project, is filled with intangible challenges and intricacies. It had been identified that managing customer expectations is currently the biggest challenge in offering Product design as a service. Although this was found to be a crucial obstacle to the customer experience, with multiple
discussions around the topic, very little is actively being done to address it. It was also identified that current internal processes are not completely understood in terms of what they entail or their purpose to the service. This was found to be especially true across the various functions. This holds significant consequences for employees, the service and ultimately the customers.
During the course of the study a number of themes and topics emerged. These include the success criteria for Product design as a service, as well as the significance of understanding roles and processes. The challenge of managing customer expectations in an unpredictable context is also addressed. The study subsequently presents two means for design-businesses to shift their focus to backstage processes in order to mitigate this challenge. The emerged themes speak to the greater industry of Product design as well as the developing field of Service design. This research is aimed at any individual, business or employee involved in the design industry. This includes anyone who has a role in delivering design as service who could benefit from a clearer
understanding of the challenging context in which they work. It would also be beneficial to an individual or business who may want to suggest adjustments or changes to improve design as a service in future.
Books on the topic "Creative Producer"
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Rogers, Beth. Creating product strategies. International Thomson Business Press, 1996.
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Rogers, Beth. Creating product strategies. International Thomson Business Press, 1996.
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Design and wealth creation. P. Peregrinus on behalf of the Institution of Electrical Engineers, 1990.
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Cooper, Robert G. Product leadership: Creating and launching superior new products. Perseus Books, 1998.
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Malcolm, McDonald, and Wallace Elaine, eds. Creating powerful brands in consumer, service and industrial markets. 4th ed. Butterworth-Heinemann, 2010.
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Schnetzler, Nadja. The idea machine: How ideas can be produced industrially. Wiley-VCH, 2005.
Find full textBook chapters on the topic "Creative Producer"
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McIntyre, Phillip, and Paul Thompson. "Paul McCartney as Record Producer: Complete Immersion in the Creative System." In Paul McCartney and His Creative Practice. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79100-1_6.
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Cham, Karen. "Consumer as Producer; Value Mechanics in Digital Transformation Design Process, Practice and Outcomes." In Cultural Policy, Innovation and the Creative Economy. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-95112-3_5.
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Cropley, David H. "Creative Products." In Creativity and Innovation. Routledge, 2021. http://dx.doi.org/10.4324/9781003233930-6.
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Holt, Knut. "Creative thinking." In Market Oriented Product Innovation. Springer US, 2002. http://dx.doi.org/10.1007/978-1-4757-5720-0_4.
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Kumar, Vinay, and Daniel Merchán García. "Creating Pagelet Producer." In Beginning Oracle WebCenter Portal 12c. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2532-5_9.
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Jackson, Brian M. "Creative Process." In The Music Producer’s Survival Guide. Routledge, 2018. http://dx.doi.org/10.4324/9781315519777-8.
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Yagi, Tadashi. "Informal Economy and Diversity: The Role of Micro-producers." In Creative Economy. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6478-4_24.
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Hampshire, Natasha, Glaudia Califano, and David Spinks. "Creative Pause." In Mastering Collaboration in a Product Team. Apress, 2022. http://dx.doi.org/10.1007/978-1-4842-8254-0_42.
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Bastaman, W. N. U., A. S. H. Shafii, and S. R. Yahaya. "Tools to create a creative fashion product in Bandung." In Embracing the Future: Creative Industries for Environment and Advanced Society 5.0 in a Post-Pandemic Era. Routledge, 2022. http://dx.doi.org/10.1201/9781003263135-70.
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Smith, Phil. "Dolphin Square to MI6 Walk - Produced by Disappearning, Almost." In The Creative Critic. Routledge, 2018. http://dx.doi.org/10.4324/9781315561059-23.
Full textConference papers on the topic "Creative Producer"
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Fukuda, Shuichi. "Best for Whom? Changing Design for Creative Customers." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28330.
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Our traditional design has been producer-centric. But to respond to the frequent and extensive changes and increasing diversification, we have to change our design to user-centric. But it is not a straightforward extension and just listening to the voice of the customer is not enough. Value is defined as value = performance/cost, but performance has been interpreted in the current design solely as functions of a final product and all other factors such as manufacturing are considered as cost. This framework has been effective until recently because there has been asymmetry of information between the producer and the customer. As the producer had a greater amount of information, they only had to produce a product which they think best and it really satisfied the customer who needed a product. The 20th century was the age of products. But as we approached the 21st century, we entered information society and sometimes the customer knows more than the producer. Thus, such a one way flow of development to fill the information (water level) gap doe not work any more, because the gap is quickly disappearing. The difference was evaluated as value in the traditional design and it meant profit for the producer. Therefore, a new approach to create value is called for. One solution is to raise the water level together by the producer and the customer so that the level increase serves for profit for the producer and for the true value for the customer. In order to achieve this goal, we have to identify what is the true value for the customer. We have to step outside of our traditional notion of value being functions of a final product. What is the true value for the customer? It is customers’ satisfaction. Then, how can we satisfy our customers. This paper points out if we note that our customers are very active and creative, we can provide satisfaction to them by getting them involved in the whole process of product development. Then our customers can enjoy not only product experience but also process experience, which will satisfy their needs for self actualization and challenge, i.e., their highest human needs.
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Fukuda, Shuichi. "Somatic Value in Mechanical Products: Machines as Interactive Media." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-10769.
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This paper points out the importance of machines as tangible and substantial media for our customers to interact with the outer world. As the world is getting more and more globalized, diversified and complex, and situations are changing more frequently and extensively, it becomes harder and harder for designers to foresee operating conditions. Therefore design is changing quickly from traditional designer-centric to user-centric. It is a user who can understand the current situation and solve the imminent problem. Thus, the role of a machine is changing from a tool to a partner which helps a user understand the situation and solve the problem together. Although traditional role of machines has been primarily an actuator, its role as a sensing media is quickly increasing. Traditional product development has been one way and it is producer-driven, regarding customers as being very passive and just as consumers or users. But customers are very active and creative. The tangible and substantial feature of mechanical products has advantages in satisfying our customers’ needs for creativity and customization of our products to adapt to their needs and tastes and furthermore in creating experience and stories for them, which will add increased value, if not only product value but also process value is considered. To realize such goals, mechanical engineering should introduce more pragmatic approaches in addition to the current rational approach.
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Fukuda, Shuichi. "Customer Productivity: A Measure for Product and Process Development With Customers." In ASME 2012 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/detc2012-70628.
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Although workforce productivity is widely used today, production is quickly moving toward product and process development with customers. Creative customers would like to get more and more involved in product development and furthermore, they would like to get satisfaction not only from the final product but from the processes as well. So we have to introduce a new measure for productivity, which focuses more on how much satisfaction a customer obtains from production. So the new definition of productivity in this sense will be: Customer productivity = Amount of satisfaction / Customer’s psychological time and money (physical and virtual involvement in production) This is different from the current customer satisfaction. Current one is focused on how much satisfaction a customer will have for a final product. This is a definition from the standpoint of the producer. The new definition is from the standpoint of the customer. This paper points out that if we introduce Mahalanobis Taguchi System, such a measure can be established and we can introduce a new metric for measuring customer’s satisfaction for the new type of prosumer system or co-production.
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Fukuda, Shuichi. "Developing Evolving Machines for Creative Customers." In ASME 2009 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/detc2009-87138.
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Realizing good quality as a final product has been our traditional approach to machine design. Therefore, current machines are provided with a wide range of full fledged functions. But the higher the function levels become and the more complex a machine becomes, the more our customers feel uneasy. Traditional reliability deals with the issue of verification. i.e., “Are we making the product right?” But what we should ask ourselves in this age of frequent and extensive changes is “Are we making the right product?” This is the issue of validation. We have to consider how we can satisfy our customers’ expectations to really gain their trust. Machines become too much complex so our customers do not know what to expect. We have to give a clear message to our customers what to expect and how their expectation will be satisfied. If we could evolve our machines’ functions step by step just as in software, our creative customers would become happier because they would know what to expect so that they can enjoy “customizing” their products to their current needs and to their tastes. Our customers could share their experience and share their stories with their friends. Such adaptive maintenance will satisfy the human needs pointed out by Maslow and would produce a greater life time value than a one time value we produce as a final product.
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McCormack, Jay, Jonathan Cagan, and James Antaki. "Aligning Shape Rule Creation With Modular Design: Minimizing the Cost of Using Shape Grammars." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49366.
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Shape grammars provide the means to represent the physical embodiment of a class of products in a set of generative rules. Once developed, the shape grammar can be used to generate new forms through automated synthesis or interaction by one or more designers. However, a fundamental shortcoming of this rule-based system is that creating the shape rules is time consuming and imprecise. The traditional approach to create a set of rules from an existing set of products was an ad hoc process of generalizing form, identifying feature options, and classifying logical subdivisions of the complete product geometry. This paper proposes a formal method of shape grammar creation that is aligned with well-known design methodologies and tools in order to enable the creation of a shape grammar during the product development process. The established methodologies for creating functional models and modular products provide many of the requisite steps for creating a shape grammar and provide a skeleton onto which a rule creation approach can be mapped.
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Leshchyshyn, Maryna, Antonina Babych, Victoria Kernesh, and Polina Bilous. "Use of Creative Methods and Untypical Materials in the Design of Fashion Industry Products." In The 9th International Conference on Advanced Materials and Systems. INCDTP - Leather and Footwear Research Institute (ICPI), Bucharest, Romania, 2022. http://dx.doi.org/10.24264/icams-2022.v.3.
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The article is to highlight and substantiate the results of scientific practical research, to prove in a theoretical and practical way the possibility of using upcycling technologies and non-typical used materials for the manufacture of modern designer functional and decorative and decorative (interior) products for the production of products of this segment, increasing the demand for products of Ukrainian designers. Innovative types of materials, manufacturing technologies and decoration of products of the fashion industry have been studied and analyzed. The question of the possibility of using used non-typical materials in the creation of modern collections of products of the fashion industry has been investigated. It was determined that the fashion industry in Ukraine is developing and being updated. This creative experiment made it possible to create an innovative niche for the designer’s vision of the world of fashion and aesthetics, which leads to creative experiments, the introduction of innovative materials and technology into the process of manufacturing products. Such creative experiments are necessary to emphasize the peculiarity and individuality of the designer, as well as to reflect his innovation and style. A sketch project of eco-style products has been developed. A collection of interior products for decorating rooms made of paper vines has been produced. A collection of women’s clothing decorated with accessories and shoes in an eco-style was developed and produced from used non-typical materials for this segment of products.
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Sethi, Simrun. "Interdisciplinary Learning - Tomorrow’s Executive as Creative Problem Solvers." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001501.
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Incorporating creative processes in the business curriculum can provide a framework for dealing with uncertainty in new product development. The paper explores the role and significance of user-focused aspects of the human-centered process in creating successful products and services. Demystifying the creative process can be challenging, as many students have trouble when engaging in 'need-finding' and problem-solving for the first time. Coping with uncertainty seems to be a vital factor in a student's ability to generate new products. Bringing creative tools and approaches into the classroom and sharing how to solve problems through observation, experiment, analysis, reflection establishes the place of the creative process, as a bridge, as a guiding principle – as a method for generating new products and new products business strategies.Keywords: Creative Process, Embracing Ambiguity, Interdisciplinary Learning, User-Focused.
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Andersson, Niclas, and Jerker Lessing. "Product service systems in construction supply chains." In Creative Construction Conference 2018. Budapest University of Technology and Economics, 2018. http://dx.doi.org/10.3311/ccc2018-084.
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Zhu, Yuan, Shijian Luo, Zuyao Zhang, and Menglin Fan. "Customer Value Co-creation and Perception in Museum Cultural and Creative Product Design." In 2021 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, 2021. http://dx.doi.org/10.1109/iccst53801.2021.00060.
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Six, Nicolas, Nicolas Herbaut, Roberto Erick Lopez-Herrejon, and Camille Salinesi. "Using software product lines to create blockchain products." In SPLC '22: 26th ACM International Systems and Software Product Line Conference. ACM, 2022. http://dx.doi.org/10.1145/3546932.3547001.
Full textReports on the topic "Creative Producer"
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Merkulova, Yuliya. Роль системы показателей в технологии оптимизации и баланса множества данных спроса и предложения. Yuliya Merkulova, 2021. http://dx.doi.org/10.12731/er0431.26042021.
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Article is devoted to significant problems of creation of system of the indicators for stimulation of balance of supply and demand of products. It is very important for increase of competitiveness of products. The new methodology of calculation of target function of a product and indicators of its efficiency is offered in article. The special place in article is devoted to methodology of definition of an indicator of aggregate useful effect, which includes useful effect of the producer and consumer and promotes balance of their interests. All offered indicators of efficiency of a product are interconnected with each other and only in united system possess the stimulating mechanism of balance of supply and demand. They promote increase of effectiveness of process of planning and allow to find reserves for increase of competitiveness of products.
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Van Reenen, John, and Rachel Griffith. Product market competition, creative destruction and innovation. The IFS, 2021. http://dx.doi.org/10.1920/wp.ifs.2021.4321.
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Gall, Graham A. E., Gideon Hulata, Eric M. Hallerman, Bernard May, and Umiel Nakdimon. Creating and Characterizing Genetic Variation in Tilapia through the Creation of an Artificial Center of Origin. United States Department of Agriculture, 2000. http://dx.doi.org/10.32747/2000.7574344.bard.
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Five stocks of tilapia [oreochromis niloticus (on), red O. niloticus (ROn), O. aureus (Oa), O. mossambicus (Om), and Sarotherodon galilaeus (Sg)] were used to produce two-way (F1), three-way (3WC) and four-way crosses (4WC). Three 4WC groups, containing equal representation of all four species, formed the base population for a new synthetic stock, called an "artificial center of origin" (ACO). Four genomic maps were created using microsatellite and AFLP markers, two from a 3WC family [Om female and (Oa x ROn) male] and two from a 4WC family [(Om x Oas) females and (Sg x On) male]. Sixty-two loci segregating from the female parent of the 3WC mapped to 14 linkage groups while 214 loci from the male parent mapped to 24 linkage groups. Similarly, 131 loci segregating from the female parent of the 4WC mapped to 26 linkage groups and 118 loci from the male parent mapped to 25 linkage groups. Preliminary screening of an F2 and a 4WC family identified a number of loci associated with cold tolerance and body weight. These loci were clustered in a few linkage groups, suggesting they may be indicative of quantitative trait loci.
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Schuck-Zöller, Susanne, Sebastian Bathiany, Markus Dressel, et al. Developing criteria of successful processes in co-creative research. A formative evaluation scheme for climate services. Fteval - Austrian Platform for Research and Technology Policy Evaluation, 2022. http://dx.doi.org/10.22163/fteval.2022.541.
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Climate change and its socio-ecological impacts affect all sectors of society. To tackle the multiple risks of climate change the field of climate services evolved during the last decades. In this scientific field products to be applied in practice are developed in constant interaction between climate service providers and users. To judge the effectiveness of these co-creation endeavours, evaluation is crucial. At present, output and outcome assessments are conducted occasionally in this research field. However, the summative evaluation does not help to adjust the ongoing process of co-creation. Thus, our work focuses on the formative evaluation of co-creative development of science-based climate service products. As the first step, main characteristics of the product development process were identified empirically. Secondly, we determined the six sub- processes of climate service product development and related process steps. Thirdly, we selected the questions for the formative evaluation relevant to all the sub-processes and process-steps. Then, a literature review delivered the theoretical background for further work and revealed further quality aspects. These aspects from literature were brought together with our results from the empirical work. In the end, we created a new scheme of quality criteria and related assessment questions for the different sub-processes in climate services, based on both, empirical and theoretical work. As the authors take into account the process of co-production in a real-life case, the criteria and assessment questions proposed are operational and hands-on. The quality aspects refer to the five principles of applicability, theoretical and empirical foundation, professionalism, transparency of processes and the disclosure of preconditions. They are elaborated comprehensively in our study. The resulting formative evalu- ation scheme is novel in climate service science and practice and useful in improving the co-creation processes in climate services and beyond.
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Steinbach, Michael, George Karypis, and Vipin Kumar. Efficient Algorithms for Creating Product Catalogs. Defense Technical Information Center, 2000. http://dx.doi.org/10.21236/ada439548.
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Goya, Daniel. Marshallian and Jacobian Externalities in Creative Industries. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0003992.
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Marshallian externalities are the benefits obtained by a sector due to geographical agglomeration, and Jacobian effects are spillovers related to the novel combinations that can occur in cities with diversified economic activities. This paper argues that most of the quantitative literature on creative industries is asking whether they are a source of Marshallian or Jacobian effects, inasmuch as a stronger creative sector is a direction of diversification that is likely to have positive spillovers to the rest of the economy. Exploring both questions under a common framework, the results are consistent with the existence of Marshallian but not of Jacobian effects, which calls to caution when making policy suggestions regarding the sector. The degree of specialization in creative sectors is associated with higher sales and a higher number of rms in those sectors, albeit at a decreasing rate. A similar relationship is found for specialization in creative occupations and the incomes of those workers. Though there is no evidence of spillovers from creative industries in general to the rest of the economy, analyses at a more disaggregated level could produce different results and useful insights for policy.
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Nobre, Ismael, Andrea Margit, Carlos A. Nobre, Maritta Koch-Weser, Adalberto Veríssimo, and Ailton Fabrício Neto. Amazon Creative Labs of the Cupuaçu-Cocoa Chain. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003694.
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Under the Amazon Third Way paradigm and its implementation strategy Amazon 4.0 the Amazon Creative Labs (ACL) were conceived, as a tool for training and for testing proposed concepts. Amazon 4.0 is an attempt to show that it is possible to achieve a stage of high human development combined with valuing of tropical forest through knowledge. This study demonstrates how to add value to value chains of the immense Amazon biodiversity and how to enable Amazonian populations to master bio-industrialization technologies of forest assets. The following example deals with the potential to develop bio-industries in the value chain of two forest products with high potential: cupuaçu and cocoa through the development of the so-called ACL. This will serve as an important experiment to guide several proposals being elaborated by the Scientific Panel for the Amazon.
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Broda, Christian, and David Weinstein. Product Creation and Destruction: Evidence and Price Implications. National Bureau of Economic Research, 2007. http://dx.doi.org/10.3386/w13041.
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Freeman, Charles, and Lisa McRoberts. What drives design? Examining the influence of motivational factors on creative product output. Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-455.
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Patel, Yusef. File to Factory: A case study of automated prefabrication house-building methods for small-to-medium enterprises. Unitec ePress, 2017. http://dx.doi.org/10.34074/ocds.0823.
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The Eco-Digital Fabrication (EDFAB) research project aimed to investigate how automated prefabrication technologies and off-the-shelf construction products can be employed to disrupt building industry norms. The aim of this research – conducted at the University of Auckland and Unitec Institute of Technology from 2014 onward – was to provide small-to-medium enterprises in the construction industry with a pathway to upskill and increase construction productivity through the use of these processes. The availability of automated machines and easy-to-use fabrication software is increasing dramatically and this can be paired with readily available construction products to produce novel mass-customised housing solutions. The application of basic automated technologies – such as CNC (Computer Numerical Control) routers – allowed researchers to create ‘recipes’ that can be adopted and adapted relatively easily. By no means did the research favour digital manufacture or assembly processes over traditional analogue construction techniques – the goal was to provide logical, productive and accessible blended solutions for greater affordability and flexibility in design. For example, the designed experiments were required to be built from readily available products, and used simple readymade screw fixings rather than digitally produced custom fixings or joining mechanisms. The research project aimed to generate discussion and provide recommendations on how the construction industry might support the adoption of automated prefabrication technology in small-to-medium enterprise (SME).