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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.
9
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.
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Newey, Lance R. "Knowledge exploitation capabilities and value creation in interorganizational new product development /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18928.pdf.
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Hayes, Thomas J. III. "The Creative Entrepreneurs Organization: Developing Innovative Products and Businesses." Thesis, Virginia Tech, 1997. http://hdl.handle.net/10919/35748.
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Global socioeconomic trends are changing the nature of the American workplace. To address the challenges brought about by these changes, American engineering education must focus on developing students into future professionals, equipped to thrive in the fast-paced, technologically intense, globally competitive workplace of the future. One of the most effective ways to prepare students to face the future is by teaching them to innovate.<p>
This thesis presents the "Creative Entrepreneurs Organization: Developing Innovative Products and Businesses" (CEO) concept as a method by which Virginia Tech could help students learn innovation. The CEO concept is a student-involvement program intended to develop students into successful entrepreneurs as they work together in small teams to develop and market intellectual property. This Program is intended to produce revenue for the University by virtue of the successful commercialization of the intellectual properties it generates. Additionally, the CEO Program will allow faculty and students to share in the financial rewards associated with the intellectual properties they generate.<p>
The CEO Program concept is presented in light of current trends in the business and academic worlds. Various issues related to its implementation are addressed. The Program is evaluated for its expected value to students, to the University, to the State, and to the Nation. A survey is presented by which the success of the Program can be measured.<p>
For the CEO concept to be successfully realized, several challenges must be overcome. First, the University must embrace this somewhat unorthodox Program in which both educational and financial motives play significant roles. Second, there must be a Program Advocate who will be able to effectively communicate the value and feasibility of the Program. Third, fiscal and physical resources must be available to ensure the successful start-up and operation of the CEO Program. Finally, the Program must find ways to nurture creativity in its participants.<p>
I conclude that the effort required to implement the CEO Program is outweighed by its potential benefits to students, to the University, to the State of Virginia, and to the Nation. Therefore, I recommend that the Virginia Tech College of Engineering consider the CEO Program for implementation.<br>Master of Science
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Broch, José Carlos. "O conceito de affordance como estratégia generativa no design de produtos orientado para a versatilidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25510.
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Para a estruturação e qualificação do pensamento criativo alguns educadores sugerem a utilização de modelos de aprendizagem baseados na ampliação das capacidades associativas dos alunos. Neste cenário emerge a Teoria das Affordances como ferramenta, tanto para compreender como o indivíduo interage com os objetos, quanto para ampliar essa interatividade. Focando um design orientado para a ampliação da utilidade dos produtos, o presente estudo explora a aplicação da Teoria das Affordances como estratégia para identificar novas possibilidades de uso dos objetos e analisa como esta aplicação interfere no processo criativo de alunos de Design. O delineamento experimental baseou-se no Plano de Quatro Grupos, de Richard Solomon, e os participantes do estudo exploratório foram alunos de cursos de graduação em Design de quatro instituições privadas de ensino brasileiras. A análise qualitativa e quantitativa dos dados sugere que a exploração de affordances em sala de aula, ao induzir a abstração, potencializa a emergência de alternativas de uso que, incorporadas ao processo de design, podem conferir versatilidade e aumentar as possibilidades de inovação na concepção de produtos. Os resultados da pesquisa deverão ser ainda ulteriormente confrontados com resultados de novos testes para que seja possível confirmar as hipóteses sobre a importância do uso de associações estruturadas (affordances) no ensino e no processo de design de produtos.<br>To qualify creative thinking, some educators suggest the use of learning models based on expansion of associative capacities of the students. In this scenario, the Theory of Affordances emerges as a tool to understand how the individual interacts with objects and to increase this interactivity. Focusing utility-oriented design, this study explores the application of the Theory of Affordances as a strategy to identify new possibilities for use of objects and analyzes how this application interferes within the creative process of Design students. The experiment was based on Solomon’s Four-Group Design and the participants of the exploratory study were students of undergraduate courses in Design of four Brazilian private colleges. The qualitative and quantitative data analysis suggests that the exploitation of affordances in the classroom, to induce abstraction, enhances the emergence of use alternatives, and incorporated into the design process may provide versatility and increase opportunities for innovation in product design. The research results must still be faced with further results of new experiments to confirm the hypothesis about the importance of structured associations use (affordances) in education and product design process.
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Dong, Xiaoqin 1971. "Improving efficiency in product and process development : a case study on a consumer products creation process." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28502.
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Thesis (M. Eng. in Logistics)--Massachusetts Institute of Technology, Engineering Systems Division, 2004.<br>Includes bibliographical references (leaves 59-60).<br>This research examines how an athletic footwear company should establish its new product development and launch process to eliminate wastes in the processes and improve the time to market. Currently, it typically takes an athletic footwear company twelve months to introduce new product samples. Retailers place orders after they see samples, however they will not receive and sell the shoes in their retail stores until six months later. The total process from an idea generated to the time when the final products launch takes eighteen months. While this system is set up due to historical reasons, forward looking management teams in the industry see a lot of inefficiencies in it, especially when athletic footwear becomes more and more fashion driven. Why should retailers stick to this advance buying pattern where they take big risks predicting the market six months ahead of time? What if this advance buying pattern is eliminated for whatever reasons? How companies can improve their new products launch process to make them prepared for the possible new challenges in the future? This research studies the new product development process in a large athletic footwear company (Hereinafter US-Footwear). Recommendations include adopting a systematic new products development framework to shorten the time to market. Specifically, this systematic roadmap will force companies to redefine milestones and key activities; this approach will also form a "funnel" screening and informed decision making mechanism. Consequently, companies would be able to eliminate non-value added activities and focus their valuable resources only on the most winning products. It will thus provide companies huge potential to shorten the time to market by doing fewer activities, fewer products and by greatly<br>(cont.) reducing iterative design changes. Lastly, the author believes that fashion business in general could benefit by adopting the similar approach.<br>by Xiaoqin Dong.<br>M.Eng.in Logistics
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Geißler, Linda, Nico Herzberg, and Natalie Mundt. "Co-Creation bei komplexen Consumer Products." Thelem Universitätsverlag & Buchhandlung GmbH & Co. KG, 2021. https://tud.qucosa.de/id/qucosa%3A75910.
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Endkunden legen bei ihren Kaufentscheidungen immer mehr Wert auf Individualität. Als Reaktion darauf, haben Unternehmen das Potential der Co-Creation erkannt. Dies beschreibt die Zusammenstellung eines komplexen Produktes durch den Kunden selbst. Auch Campeleon nutzt Co-Creation im Rahmen der Produktentwicklung. Das Start Up entwickelt in enger Zusammenarbeit mit Pilotkunden modulare Ausstattungsmodule für Reisemobile. Durch die intensive Interaktion mit dem Kunden konnten Anforderungen an die Produkte identifiziert werden, die ansonsten unentdeckt geblieben wären. So sind erste modulare Ausstattungsmodule entstanden, die es ermöglichen, den knappen Platz im Innenraum von Reisemobilen durch Mehrfachnutzung der Flächen zu maximieren. Neben einer innovativen Küchenlösung ist so auch ein modulares Camper-Bad entstanden. Gleichzeitig muss sich Campeleon immer wieder die Frage stellen, in welchem Maße Co-Creation sinnvoll genutzt werden kann und wann sie für den Kunden überfordernd wirkt. Daraus ist eine Checkliste entstanden, die Kunden dabei behilflich sein soll, ihre Gedanken zum Reisemobil-Ausbau zu ordnen. Dieser Artikel beleuchtet zum einen Vorteile und Herausforderungen von Co-Creation. Zum anderen wird die Entstehung eines Prozesses zur Umsetzung anhand eines Anwendungsbeispiels veranschaulicht.
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Teixeira, Karla Andrade. "Ácido guanidinoacético para leitões." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6078.
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Previous issue date: 2016-03-15<br>In the search for improved animal performance, has been testing new substances and new products to be used as additives in feed. Creatine and their precursors are examples of such compounds used for improvement of animal productivity. The guanidinoacetic acid is a natural precursor of creatine that has been studied in order to verify their effects on animal performance. With the objective of verify whether supplementation of guanidinoacetic acid in diets could help save the arginine used for the synthesis of creatine, which can be diverted to protein synthesis, growth and development of the animal. 90 piglets weaned at 21 days of age were used. The animals were distributed in a randomized block design based on the initial weight of the animals, with five treatments (0.00, 0.05, 0.10, 0.15 and 0.20% of inclusion of guanidinoacetic acid) six replicates and three animals per experimental unit. The experimental diets and water were fed ad libitum in the pre-initial I phase (21 -32 days old) and pre-initial II (33-42 days old), and the initial phase (43-63 days old). At 42 and 63 days old blood was collected from an animal for experimental unit to analyze creatinine and creatine kinase. They were analyzed daily weight gain, daily feed intake and feed conversion in phases pre-initial (21-42 days old), initial (43-63 days old) and the total duration of the experiment (21-63 days old). All variables were subjected to analysis of variance and regression analysis. It was adopted α = 0.05 and considered trend between α 0,05 and 0,10. In the pre-initial phase (21-42 days), there was a tendency to parameter gain weight daily (P= 0,069), however daily feed intake and feed conversion were not affected significantly by the addition of different levels of guanidinoacetic acid in the diet. As for the blood variables, creatinine levels both at 42 as at 63 days were not significantly affected. For creatine kinase levels at 42 days there was a tendency (P = 0.077), but after 63 days there were significant influences. In the initial phase (43-63 days) and total experimental period (21-63 days) were no significant effects of the inclusion of guanidinoacetic acid, both for performance variables as for creatinine and creatine kinase.<br>Na busca por um melhor desempenho dos animais, vem se testando novas substâncias e novos produtos a serem utilizados como aditivos nas rações. A creatina e seus precursores são exemplos destes compostos utilizados para melhora da produtividade dos animais. O ácido guanidinoacético é um precursor natural da creatina que tem sido estudado no intuito de verificar seus efeitos sobre o desempenho do animal. Foi realizado um experimento com o objetivo de verificar se a suplementação de ácido guanidinoacético nas rações pré-iniciais de leitões poderia ajudar a poupar a arginina utilizada para a síntese de creatina, podendo ser desviada para síntese proteica, crescimento e desenvolvimento do animal. Foram utilizados 90 leitões machos castrados, desmamados aos 21 dias de idade. Os animais foram distribuídos em delineamento em blocos casualizados com base no peso inicial dos animais, com cinco tratamentos (0; 0,05; 0,10, 0,15 e 0,20% de inclusão do ácido guanidinoacético), seis repetições e três animais por unidade experimental. As rações experimentais e água foram fornecidas à vontade nas fases pré-inicial I (21 a 32 dias de idade) e pré-inicial II (33 a 42 dias de idade), e na fase inicial (43 a 63 dias de idade). Aos 42 e aos 63 dias de idade foi coletado sangue de um animal por unidade experimental para análise de creatinina e creatina quinase. Foram analisadas ganho de peso diário, consumo de ração diário e conversão alimentar nas fases pré-inicial (21-42 dias), inicial (43-63 dias) e no período total do experimento (21-63 dias). Todas as variáveis foram submetidas à análise de variância e à análise de regressão. Foi adotado α = 0,05 e considerado tendência α entre 0,05 e 0,10. Na fase pré-inicial (21-42 dias), ocorreu tendência para o parâmetro de ganho de peso diário (P= 0,069), porem consumo de ração diário e conversão alimentar não foram influenciados significativamente pela adição de diferentes níveis de ácido guanidinoacético na dieta. Já para as variáveis sanguíneas, os níveis de creatinina tanto aos 42 quanto aos 63 dias não foram influenciados significativamente. Para os níveis de creatina quinase aos 42 dias houve tendência (P=0,077), mas aos 63 dias houve influencia significativa. Na fase inicial (43-63 dias) e período total do experimento (21-63 dias), não foram observados efeitos significativos da inclusão de ácido guanidinoacético, tanto para as variáveis de desempenho quanto para creatinina e creatina quinase.
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Bailey, Jennifer. "Synchronizing exploration and exploitation: knowledge creation challenges in innovation." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50378.
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Innovation requires an ambidextrous knowledge creation strategy, which is defined as the simultaneous pursuit of both exploration and exploitation. A temporal ambidexterity strategy is one in which an organizational unit dynamically balances its investments in exploration and exploitation over time. This thesis provides new insights on various factors which should be considered when developing and executing a temporal ambidexterity strategy. In the Essay 1, I empirically examine the impact of exploration, exploitation and learning from cumulative innovation experience on the likelihood of successfully versus unsuccessfully generating a breakthrough innovation. The data sample, based on patents in the biomedical device industry, is drawn from the National Bureau of Economic Research patents database. I demonstrate three important tenets for developing a theory of temporal ambidexterity. First, I confirm, as conceptually expected, that when pursued independently, exploration and exploitation have opposing variance-generating versus variance-reducing impacts on innovation performance, respectively. Second, I find that when pursued jointly exploration and exploitation have a negative interaction effect on innovation performance. Third, I show that the benefits of ambidexterity accrue in the long-term, as a result of learning from prior failure experience. However, I demonstrate that prior failure experience and exploitation are jointly necessary, but not independently sufficient, for learning from failure to occur. In Essay 2, I introduce a dynamic optimization model of temporal ambidexterity. I examine the optimal sequencing of exploration and exploitation knowledge creation activities throughout the innovation process. I consider how an innovation manager’s optimal dynamic investments in exploration and exploitation are driven by the innovation team’s knowledge creation capabilities and prior innovation experience, and by the manager’s short-term and long-term innovation risk objectives. The results demonstrate the conditions under which various temporal ambidexterity strategies endogenously arise. Finally, in Essay 3, I extend the single firm model introduced in Essay 2, to develop a model of temporal ambidexterity for two firms jointly pursuing knowledge creation and knowledge-sharing under co-opetition. Here, I consider how co-opetition, that is, cooperative knowledge-sharing with a competitor, impacts a firm’s optimal ambidextrous knowledge creation strategy. I consider two-way knowledge sharing, and I assume that each firm freely reveals its knowledge to its competitor, without receiving compensation. The dynamic analytical results contribute to the open questions regarding optimal knowledge-sharing strategies under co-opetition, by demonstrating under what conditions knowledge-sharing with a co-opetitive partner is beneficial. Importantly, I also analytically examine the factors which drive empirically observed alliance dysfunctions, wherein organizations delay knowledge-sharing and withhold information from their alliance partners.
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Wang, Huaijun. "Creating Virtual Wood Particulate Composites." Fogler Library, University of Maine, 2000. http://www.library.umaine.edu/theses/pdf/Wang.pdf.
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Terokhina, P. I., and A. M. Tkalenko. "Creation of successful brands." Thesis, ГО "Інститут інноваційної освіти", 2021. https://er.knutd.edu.ua/handle/123456789/18991.
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MARJOT, Cédric, and JOU-YEN (VERNA) LU. "Creative Process and Product Life Cycle of High-Tech Firms." Thesis, University of Kalmar, Baltic Business School, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-351.
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<p>Given the context of globalization and growing competition, we assist at a reduction of the product life cycle and at a rapid diffusion of creations and innovations. To respond to the fast changing customers’ demand and to reinforce their market position, firms shall design an effective creative process offering superior customer value and insuring their future in the long term.</p><p>First of all, after an explanation of the differences between creativity and innovation, the creative process of high-tech firms in terms of actors involved, resources allocation, leadership and management of creative people will be depicted. Secondly, the creative destruction process and some of the inherent obstacles and risks of the creative process will be addressed. Thirdly, the concepts of Technology Life Cycle (TLC) and Product Life Cycle (PLC) will be developed.</p><p>Within this thesis, our ideas are presented and justified through three methodologies: Literature Review, case study and interview. We mainly used the cases of Hewlett-Packard (HP) and France Telecom Orange (FTO) to backup our argumentation.</p><p>We conceptualized the creative process and we highlighted the connections between the creative process and the Product Life Cycle. With the help of two other small cases study (Nintendo and Apple), we emphasized the downward trend of high-tech products’ lifecycle in the long run. Ultimately, four practical recommendations are given to leaders from high-tech industries and directions to deeper research this topic are advised.</p>
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Haapanen, Heta-Liisa, and Ulla Kaukonen. "Creative Control : How to Manage Innovation and New Product Development." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-126833.
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<p>The topic of this research is to explore to what extent innovation and new product development (NPD) are managed with formal and informal control mechanisms respectively and in combination in five international food industry companies. The topic deals with finding an understanding of controlling innovation processes which require freedom to some extent but at the same time are to be managed in order to keep track of the resources. Cases’ selection was designed to bring variation and catch the complexity of the phenomenon by studying one prime case and validating the results with four minor case companies’ results. The findings of the study indicate that first of all formal and informal control mechanisms coexist and interact and secondly that a more informal and personalized take is beneficial in R&D settings.</p>
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Ricksten, Gustav, and Jacob Enetjärn. "The role of digitalized product information in maintenance services of complex products or systems." Thesis, Karlstads universitet, Handelshögskolan (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78599.
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Manufacturers dealing with complex products or systems are widely dependent on new technologies which can be utilized to create new business models. Servitization literature express an increased demand for advanced service offerings for manufacturers where revenues are generated by the performance and availability of their product. This stream of literature agree that maintenance organisations hold an important part of capturing the advantages of advanced servitization business models but that manufacturers often struggle with the deployment of digital technologies. Furthermore, studies within servitization imply that digital implementations and information management create value for manufactures, but a gap exists regarding how value is created. This study therefore explores and furthermore identifies the role of digitalized product information in maintenance services and how it creates value. The aim is to contribute with new insights regarding the realisation of advanced services within the service operations area. The research design is a multiple embedded case study including 10 interviews and a cost analysis. Technicians and maintenance managers are interviewed within companies who are i) manufacturers of complex products or systems and ii) have their own maintenance organisation. Two themes, “Convenience” and “Sustainability” were derived from the interviews to describe how value is created by the usage of DPI. Value is created by simplified processes, optimized time management, reduced consumption, optimized life-expectancy etc. through the usage of DPI in maintenance services of complex products or systems. Economic value in terms of cost reductions, sales optimizations and economic stability could be identified as holistic value created for the organizations, enabled by the two main themes. The results of the study indicate overlapping similarities with the existing literatures and address important aspects of how to realise the benefits of advanced services for manufacturers and what digital capabilities related to maintenance that can be utilized to successfully implement such services.<br>Tillverkande företag som hanterar komplexa produkter eller system är starkt beroende av ny teknologi som kan utnyttjas för att skapa nya affärsmodeller. Forskning inom tjänstefiering visar en ökad efterfrågan av avancerade tjänsteerbjudanden för tillverkande företag där intäkter genereras av produkternas prestanda och tillgänglighet. Dessa forskare är eniga om att underhållsorganisationer spelar en viktig roll för att fånga fördelarna med dessa avancerade tjänsteerbjudanden men att tillverkande företag ofta har svårigheter med att implementera digital teknik. Studier inom tjänstefiering påvisar att digitala implementationer och informationshantering skapar värde för tillverkande företag, men att ett forskningsgap som beskriver hur detta värde skapas existerar. Denna studie syftar därför till att utforska och identifiera rollen av digitaliserad produktinformation i underhållstjänster och hur det skapar värde. Målet med studien är att bidra med nya insikter angående förverkligandet av avancerade tjänsteerbjudanden inom litteratur för tjänstefiering. Studien är utformad som en multipel fallstudie som inkluderar 10 intervjuer och en kostnadsanalys. Tekniker och underhållschefer är intervjuade inom företag som är i) tillverkare av komplexa produkter eller system och ii) har en egen underhållsorganisation. Två teman, ”Bekvämlighet” och ”Hållbarhet”, härleddes från intervjuerna för att beskriva hur värde skapas genom användandet av DPI. Värde skapas genom förenklade processer, optimerad tidsåtgång, minimerad konsumtion, optimerad livslängd hos produkter osv. genom användningen av DPI i underhållstjänster av komplexa produkter eller system. Ekonomiskt värde i form av kostnadsreduceringar och optimerad försäljning kunde identifieras som holistiskt värde skapat för organisationerna, realiserat av resultatets två huvudteman. Studiens resultat indikerar överlappande likheter med existerande forskning och adresserar viktiga aspekter angående hur avancerade tjänsteerbjudanden förverkligas och vilka digitala förmågor relaterat till underhåll som kan utnyttjas för att på bästa sätt implementera sådana tjänster.
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Borges, Kamilla Martins. "Ácido guanidinoacético em dieta pré-inicial para frangos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7216.
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Previous issue date: 2017-03-28<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>Creatine is a substance that provides temporary energy. Guanidinoacetic acid (AGA) is a natural precursor of creatine, and can be added to feeds. The AGA provided acts as an energetic substrate with lower protein degradation with amino acid shift for gluconeogenesis, improving the initial performance of the birds. To evaluate the AGA in broiler chicken diet, an experiment was carried out using rations formulated for the pre-initial phase. Treatments consisted of a basal diet without AGA and rations with 0.10 and 0.20% AGA. A total of 252 male cutting chicks, distributed in a completely randomized design (DIC), with seven replicates and 12 birds per experimental unit were used. Feed consumption, weight gain and feed conversion were evaluated at seven, 14 and 21 days of age. Six days later, blood samples were collected for the determination of creatinine, creatine kinase (CK) and glucose and two metabolism tests were performed one at three and the other at 17 days of age. Data were submitted to analysis of variance ANOVA and the means were compared by the Tukey test. In the period of 1 to 7 days, an improvement in the feed conversion of animals receiving 0.20% AGA was observed. In the period from 7 to 14 days there was improvement in feed conversion and tending to improve the weight gain of the animals that received 0.20% AGA. There was no cumulative effect of AGA use on experimental rations fed to broiler chickens from 1 to 7 days of age on performance up to 21 days of age. Blood creatinine values at six days of life did not show significant differences. Animals that received 0.20% AGA presented higher CK blood concentration than the other treatments. The blood glucose concentration did not present statistical differences between treatments. The crude protein metabolism coefficient (CMPB) was increased within 3 to 7 days for animals receiving 0.20% AGA in the diet. There was no difference between treatments in the period from 17 to 21 days for the metabolization coefficient. The animals' intestinal weight and length did not show differences between treatments. Levels of 0.10 and 0.20% of AGA in the pre-starter diet improves weight gain and feed conversion over the period from 1 to 14 days of age in broilers.<br>A creatina é uma substância que fornece energia temporária. O ácido guanidinoacético (AGA) é precursor natural da creatina, e pode ser adicionado às rações. O AGA fornecido atua como um substrato energético havendo menor degradação proteica com desvio de aminoácidos para a gliconeogênese, melhorando o desempenho inicial das aves. Para avaliar o AGA em dieta de frango de corte foi realizado um experimento utilizando rações formuladas para fase pré-inicial. Os tratamentos consistiram de uma ração basal sem AGA e rações com 0,10 e 0,20% de AGA. Foram utilizados 252 pintos de corte machos, distribuídos em delineamento inteiramente casualizado (DIC), com sete repetições e 12 aves por unidade experimental. Foi avaliado o consumo de ração, ganho de peso e conversão alimentar aos sete, 14 e 21 dias de idade. Aos seis dias foi realizado coleta de sangue para determinação de creatinina, creatina quinase (CK) e glicose e realizados dois ensaios de metabolismo um aos três e outro aos 17 dias de idade. Os dados foram submetidos à análise de variância ANOVA e as médias foram comparadas pelo teste Tukey. No período de 1 a 7 dias foi observada tendência de melhora da conversão alimentar dos animais que receberam 0,20% de AGA. No período de 7 a 14 dias houve melhora na conversão alimentar e tendência de melhora do ganho de peso dos animais que receberam 0,20% de AGA. Não foi verificado efeito cumulativo da utilização do AGA nas rações experimentais fornecidas aos frangos de corte no período de 1 a 7 dias de idade sobre o desempenho até os 21 dias de idade. Os valores de creatinina sanguíneo aos seis dias de vida não apresentaram diferenças significantes. Animais que receberam 0,20 % de AGA apresentaram concentração sanguínea da enzima CK maior que dos demais tratamentos. A concentração de glicose sanguínea não apresentou diferenças estatísticas entre tratamentos. O coeficiente de metabolização da proteína bruta (CMPB) foi aumentado no período de 3 a 7 dias para os animais que receberam 0,20% de AGA na ração. Não houve diferença entre os tratamentos no período de 17 a 21 dias para o coeficiente de metabolização. O peso e o comprimento do intestino dos animais não apresentaram diferenças entre os tratamentos. Níveis de 0,10 e 0,20% de AGA na dieta pré-inicial melhora o ganho de peso e a conversão alimentar no período de 1 a 14 dias de idade em frangos.
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Peter-Jaarsveld, Saskia. "Creative cognition : characteristics of products and processes in visual design tasks." Thesis, University of Sunderland, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433927.
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Govers, Emma. "Kreativa Produkter : En jämförelse mellan teori och praktik." Thesis, Linköping University, Department of Management and Engineering, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11432.
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<p>Syftet med arbetet är att skapa en bättre förståelse för vad kreativitet och kreativa produkter är. I arbetet utvärderas även en metod för bedömning av kreativiteten i en produkt. Den metod som utvärderas är Creative Product Semantic Scale (CPSS). Det finns många olika definitioner på kreativitet och några tas upp i det här arbetet. För att kreativitet skall uppstå är även omgivningen och kontexten viktig. Kreativ verksamhet resulterar ofta i en produkt och det kan därför vara bra att kunna bedöma kreativiteten i en produkt. Det finns olika krav som kan ställas på en kreativ produkt. Ett krav som alltid måste vara uppfyllt är kravet på nyhet, andra krav som kan ställas är krav på användbarhet och komplexitet. Arbetet inleddes med sökningar i artikeldatabaser för att hitta fakta om kreativa produkter samt metoder för att avgöra om en produkt är kreativ. Därefter formulerades enkätfrågor och en pilotstudie utfördes med sex deltagare för att se hur enkäten fungerade. Efter vissa justeringar delades enkäten ut till 40 studenter. I enkätundersökningen ombads respondenterna att besvara tre öppna frågor, göra fria bedömningar av fyra produkter med avseende på attributen kreativitet, originalitet, användbarhet, komplexitet samt attraktivitet och välformighet. Dessutom användes metoden Creative Product Semantic Scale för att bedöma kreativiteten i de fyra produkterna. Respondenternas svar på de tre fria frågorna stämde ganska väl med teorin men de nämnde mycket lite om omgivningen och kontexten. En jämförelse mellan respondenternas fria bedömning och bedömningen med hjälp av CPSS gjordes och visade på vissa brister i metoden. Metoden Creative Product Semantic Scale tar ingen hänsyn till vilka av kraven på den kreativa produkten som är uppfyllda. Detta medför att en produkt som inte uppfyller kravet på nyhet ändå kan få ett ganska högt kreativitetsbetyg. Metoden är därför inte helt pålitlig eftersom en produkt som inte uppfyller nyhetskravet inte kan anses kreativ.</p>
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Gander, Jonathan. "Performing music production : creating music product." Thesis, King's College London (University of London), 2011. https://kclpure.kcl.ac.uk/portal/en/theses/performing-music-production(9d443c79-db0d-4c34-9f7d-de4f4bc5fb14).html.
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The purpose of this thesis is to investigate a particular form of cultural production; the creation of musical product, the pop song. Previous accounts have been dominated by casting the process as one of transmission in which the music of the artists is captured in a recording and the resulting object is released into the market. I argue that this portrayal of cultural production as a pipeline directs attention towards activities at either end: the recruitment of talented artists and the distribution and promotional efforts of the record companies. What happens in the ‘pipe’, how the product is created, is concealed, explained away by reference to stylised notions of technological and economic forces and the operation of unknowable creative talent. To open up this ‘black box’, an approach not previously applied to popular music production is used, actor-network theory. This thesis traces the formation and performance of moments in the production of musical product: songwriting, recording, mixing, mastering and live performance. Tracing the production of music is carried out through analysis of interviews conducted with the protagonists, the producers, engineers, studio managers and artists, and is supported by observation of studio sessions. The principal argument that I develop in the thesis is that musical product is not a discrete ‘thing’ to be diffused, but a networked entity indissociable from the roles and identities, qualities and practices of others that constitute and perform the production, reproduction and consumption of popular music. Accordingly in this thesis musical product is revealed as an achievement, not an a priori fact, and I examine how its constructed qualities are stabilised and shape the network of production and consumption. Following the construction of these qualities reveals how the various interests of the protagonists are translated through their enrolment in practices and systems of calculation into relational arrangements that perform the power of the producer. The contribution of this research lies not just in making visible what has previously been obscured, but also in the way that it illustrates the value in analysing organised activity as a performative association of relationally constructed roles, objects, and qualities, of, in this case, the musical product, colloquially known as ‘a pop song’.
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Kozbelt, Aaron Paul. "Products and processes of artistic creation /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3060227.
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Hung, Shu-Chin, and 洪淑琴. "The Cheongsam Culture Applied to Research and Creation of Cultural and Creative Products." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qgq44v.
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碩士<br>樹德科技大學<br>應用設計研究所<br>107<br>Cheongsam is Chinese traditional costume with strong oriental element. Its image shows a woman''s simple and elegant temperament, which is pleasing to the eye. In recent years, the element of “culture” has become a leader in the creation of a variety of cultural and creative products that combine the image of ancient servants with innovative techniques. It is worth exploring the design of commodities based on cultural elements taken from cheongsam.
The study used content analysis method. Selecting fifteen cultural and creative products which is applied to packaging or styling on the Internet based on cheongsam culture and other culture. This study is to analyze purposive sampling of cultural and creative commodities, and summarize the extraction of culture elements, cultural conversion, and its application to the three-level（inner, external and intermediate）design features of cultural space from analytical results. Based on the analytical results, I combined the meaning of Cheongsam cultural elements to design the cultural and creative commodities.
The shape, color and meaning of cheongsam are used to analyze in this thesis, and add the concept of environmental protection. The cheongsam element is regarded as a kind of decorations design. I design five practical cultural and creative commodities and one decorative packaging commodity. Based on the results of this study, I hope to provide the reference for other cultural and creative commodities in the future.
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Chen, Chung-An, and 陳重安. "The creation of Red Hair Harbor Histroy on Cultural and Creative Product Design." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/17627513309153007194.
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碩士<br>國立高雄師範大學<br>視覺設計學系<br>99<br>The aim of this paper is to create cultural creativity products which are inspired by the traditional stories in the “Red Hair Harbor”, thereby studying the design and development of the products, as well as cultural marketing, giving the traditional stories of fashion sense and a new sense of creativity. coupled with the upcoming opening of the Red Hair Harbor Cultural Park in Kaohsiung, this creation-based study can contribute ideas to the marketing and image management.
With the creation of “the Red Hair people’s treasure hunt” as the theme of the story line, many legends were linked together under the “treasure hunt” concepts. by the combination of the early folklores and products through the role shaping in the story, cultural creativity products with the local features and contents were created. The creation forms can be divided into two parts: graphic design and three-dimensional design. Graphic design mainly includes computer-based vector graphics to facilitate future applications in a variety of products; in terms of the three-dimensional design, the graphics of the story characters shall be presented for their display and promotion upon completion. The creation is expected to be applied in the cultural industry.
The ability of being a good story-teller is essential in the cultural creativity industry. This paper not only give a practice of the creation of narrative-based cultural product through the stories in the Red Hair Harbor, but also explore and discover the development potential behind the traditional culture in the region. Hopefully it can provide a new aspect to the international design and culture ecologies in Taiwan.
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Tsai, Yi-Chen, and 蔡宜珍. "The Wang-ye Greeting Fiesta of Tung-Long Temple :Creation of Creative Cultural Products." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80826814651967190107.
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碩士<br>國立高雄師範大學<br>視覺設計學系<br>99<br>Believing in Wong-ye is an important part of folk religion in Taiwan. The Wang-ye Greeting Fiesta of Tung-Long Temple is one of the biggest celebration in southwest Taiwan, which is held every three years. The celebration not only shows culture and energy but also attracts a number of tourists. People in DongGong put more and more emphasis on “cultural creative industry” due to the development and design by the government. Now, we hope to well design cultural creative products to improve their value via the celebration. Therefore, the style, including culture, art, industry, creativity, and life, will activate Taiwanese economy.
This thesis begins with Wang-ye Greeting Fiesta of Tung-Long Temple in Donggang to the research of the meaning during the process of worship. The symbols and its connection with the ceremony were used in the creation. Based on semiology, this study analyzes the association between symbols and pictures. Besides, the discussion of cultural creative products in religious events, documents reading and cases study, and using product design to transform cultural images, which develop four series of creations.
The result as follows:
1. The characteristics of cultural creative products are represented in the religious events.
2. It is possible that images of Wang-ye Greeting Fiesta of Tung-Long Temple in Donggang can transform into products.
3. The cultural products in this event can be taken into consideration for the future Wang-ye Greeting Fiesta events.
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Wu, Tso-Peng, and 吳祚朋. "The Creation on the Performance of Cultural and Creative Product by Adopting Montage Technique." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/4p27h7.
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碩士<br>國立臺中科技大學<br>多媒體設計系碩士班<br>103<br>In the era of information explosion, the innovation and popularization in technology allow creators to have more development and possibilities at the creation methods. By digital methods, the traditional techniques can be exerted more in the creation within a shorter period of time. Many types of media materials mixed with the techniques can be applied to anywhere, not just in paper.
This work incorporates digital software, montage and micro-film plots, so that it can present the animation created via multimedia approach which is very different from the conventional methods. In this work, the main characters in &;quot;Dream of Red Mansions&;quot; were portrayed via digital painting and infused with Sinicism. All virtual figures in this animation wear the cultural and creative accessories which were designed according to their personalities. The beauty of the cultural and creative accessories design is displayed by the scenario crossing time and space shows, and it can not only enhance the audience’s interest in the story, but also reinterpret the fascinating love in &;quot;Dream of Red Mansions&;quot;.
“The Mutualism of actuality and fictitiousness” is an important argument in traditional Chinese aesthetics. “Actuality” means a finite entity, and “fictitiousness” is an infinite nihility brought out by tangible ways. Actuality and fictitiousness mutually beget each other and in result all the living things in the world can be endlessly created. Through the combination of the “virtual” characters in animation and “actual” persons in micro-film, the blend of the “existence” of culture products and imaginative &;quot;fictitious&;quot; stories, this work displays the interdependence of actuality and fictitiousness. The creator expects the audience to appreciate the beauty of the cultural and creative works. In the meanwhile, they can experience the strength and esthetics via the drama.
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Devilliers, Theunis Willem. "Influences and mental processes involved in generating creative products Their implications for landscape architects /." 2008. http://hdl.handle.net/10106/1863.
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梁瓊丹. "The Construction of Cultural Creative Products and Creative Strategies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03233105143646655371.
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碩士<br>輔仁大學<br>管理學院經營管理碩士學程<br>97<br>Culture creativity is the key point to transform or upgrade the industry, and it’s also the presentation of social living standard, as well as the emblem of the nation’s image and power. By means of the existing culture assets, how to inspire much more creativity and how to commercialize or industrialize culture become the focal issues of business management. The research highlights the analysis on characteristics of cultural creative industries, the construction and creative strategies of cultural creative products; furthermore, the relationship between product matrix and cultural elements is also included.
The project study cases of the research are Taipei Veteran’s Festival and Taoyuan Hakka Tung Blossom Festival. Based on the two cases, the study applies comparison analysis to explore the nature of cultural creative products. The discoveries were start from that the process of industrialization is the way to pass down the culture, and the composition of cultural assets and creativity makes cultural products. Second, the characteristic of the cultural creative industry is the way of resources integration where enterprises play the role of director in charge of creativity management and the configuration of cultural creative products. Third, creative ideas occur on product levels, and whether for culture consumption or culture exploration purpose, the operation will benefit culture preservation. Last but not least, the creative business running strategies isn’t less important than the creation itself though cultural products cannot be devoid of creativity. Only when the creative strategies and product levels fulfill customer’s values could creativity generate industrial values and becomes the fountainhead of cultural industries.
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Wang，Tsai-Jen and 王財仁. "Creation of Cultural & Creative Products and Construction of the Business Model for the Seed Pot." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/64qnd8.
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碩士<br>國立高雄應用科技大學<br>文化創意產業系<br>104<br>In the current social trends,M - shaped societyhas become more apparently. The promotion of the perspectives based on spiritbecomes important for the riches including the living artworkcommodity seeds potted. In our study, we focus on the business operation of the commodity seeds potted operators and the consumer involvement when creating the commodity seeds potted cultural andcreative product. Also the purchase motivationinvolvement which happens during buying experience. Further analyzing the factors which influences the consumers buying motive to give commodity seeds potted operatorsproposal on creating product and business strategies.This study utilizes three methods to data collecting and inquiring. They are literature analysis, in-depth interviews and questionnairesrespectively. The sampling of sample survey are the target of creators and customers of commodity seeds potted. This study use questionnaire surveyand there are 197 valid samples. Adopting the scale of market value of commodity seeds potted, the involvement and the influences of between buying experience and buying motives as research instrument.They are five orientations: sensory-oriented, emotion-oriented, thinking-oriented, action-oriented, andrelevance-oriented.
In sensory-oriented, we investigate whether the unique design being the most important factor that infect consumers purchasing commodity seeds potted.Simultaneouslyexamining theconsumers in involvement side, whether their importance of perception are the main reasons buying commodity seeds potted. Furthermore, to find out during the buying experience whether the main reason that consumers buying the commodity seeds pottedaffected by spontaneously interest and whether there is a positive correlation between purchasing value in motivation of the consumers buying the commodity seeds, and the variables of involvement and buying experience, in the way of designing commodity seeds potted, which design is most popular to consumers, this study will analyzing the different shape in commodity seeds potted to investigate which one is the consumers’favorite. Finally integrating both side of interview advice to cross match with consumer survey results. After getting the reliable suggestions and results, this will give proper reference for commodity seeds potted industry development in future.
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Ying, Hsu-Tzu, and 徐子盈. "Applying the Continuous Botanical Design to Create New Fabric Patterns for Value-Added Creative Products." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/59761181386289997281.
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碩士<br>中原大學<br>商業設計研究所<br>97<br>Abstract
Among various visual forms, pattern is one which unites applicability and popularity without excessive regard on artistry and character presentations. Continuous botanical design has been developed to its own style, which has been commonly used and assembled by different cultures and background to perform its unique fashion style, including painting, textile, utensils, architecture and publishing etc. In contrast to continuous botanical design, Western botanical design has gone through systematic integration and modernistic redesign and has been widely used. However, most continuous botanical design, which have not been developed to organize frames and forms were only presented in duplicate formats.
This study used high value-added Tang and Sung Dynasty patterns as design origins, and adopted western patterns grouping model and design method to assist in the re-design of Tang and Sung Dynasty botanical patterns, which will be applied to textile industry. Many international brands and re-design of traditional continuous botanical design are kaleidoscopic, but there are still certain characteristic grouping models to be followed. Hence, this research introduces the re-design of continuous botanical patterns, which will be used by the value-added textile industry to accomplish systematic textile production by digitalized modular methods. This goal of this study is to determine a new method for redesign of continuous botanical patterns to be applied to the textile industry. It is also to anticipate a reference model for industry-university cooperation to be established in Taiwan.
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Hung, Yu-Fang, and 洪玉芳. "A Creation-Led Study on the Creative & Cultural Products Applied in the Image Promotion of Taichung." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/qttqpg.
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碩士<br>國立臺中科技大學<br>商業設計系碩士班<br>104<br>The creative & cultural industry of Taiwan has entered a period of structural adjustment which focuses on the innovational and balanced development. The cultural content is becoming an important media of connection. The economic competition that was once based on countries has now occurred between cities. As one of the six municipalities of Taiwan, Taichung positions itself on the Creative City and Livable Capital, and the government also focuses on the creative & cultural developing and happy living. It can be seen that Taichung tends to develop creative & cultural industry actively and promote the city brand by policies.
The creation-led study first widely explored the cities of design and their images all over the world by literature review, and found that the image-building of a city is closely bound up with its creative & cultural industry. Then a field survey was conducted to find the cultural characters of each administrative division of Taiwan. By analyzing all the tourism websites of Taiwan, the study summarized 4 topics, including city scape, history pilgrimage, artistic style and natural ecosystem. Finally, creating practice was conducted based on Taichung, and produced a series of 16 creative & cultural products presenting the characters of 20 administrative divisions. The creative mode was also formed during the practice. That is, the culture was first divided into tangible culture and intangible culture. The tangible culture was linked to the appearance of products while the intangible culture presented its spirits and values through products. In this way, the cultural characters of the division could be promoted more accurately.
The first step of creation was to name the products to show the cultural characters. Then copies were composed to explain the combination of products and the cultural characters. By cultural image analysis, the cultural characters could be interpreted better by the products. Afterwards, visual design, package design and using occasion photography of the products were made, to show the cultural atmosphere. Finally, mounting was made to improve the integrity of the products. Based on such a process, 16 pieces of the creative & cultural products were fulfilled.
In summary, the creation-led study aimed to develop the economic value of the local cultural characters by creative & cultural products, in order to form the image and cultural characters of each division, strengthen the cultural diversity of Taichung, and further form the whole image of the city to facilitate the promotion.
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HUANG, MEI-YI, and 黃美嬑. "Design of YunTech Cultural Creative Products." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5w55ax.
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碩士<br>國立雲林科技大學<br>創意生活設計系<br>106<br>President Yang took office at Yunlin University of Science and Technology in 2009. He thought school’s English name too long, so he advocated “YunTech” as school English name and operated by way of brand management. “YunTech” is devoted to cooperation, and designed YunTech cultural creative products over the years. Because of many reasons, the school doesn’t have representative YunTech cultural creative products. After I interviewed the dean of the design department in March 2015, I know that there will be more than 1,000 high school students visiting the school, and the foreign guests will visit every year. But there is no representative product to promote in the school. So, I design a series of YunTech products because of the above reasons.
Therefore, I use new ideas as a framework for metaphorical design, that is Similarity judgment model which based on the mode of metaphor design. After that, the three levels of culture are used to analyze the meaning of the YunTech cultural creative products. The final result are four works. Metaphorical cultural and creative products with the promotion of storytelling and campus activities, let users feel the charm and features of the product.
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Juan, Chi-Ping, and 阮啟平. "Kansei Taiwanese Culture Creative Product Design." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21445734737418508312.
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碩士<br>嶺東科技大學<br>高階主管企管碩士在職專班<br>98<br>In the changing society, consumers keep changing their choices on purchasing products with time flow. However, consumers’ fondness of products is based on the images that products show. Therefore, how to transfer consumers’ favorite images into modeling design in the market becomes a significant topic. Furthermore, based on the topic, innovation turns to be crucial for how to create the best products that consumers are willing to buy. The research employs the world-popular Kansei Engineering which originates in Japan and transfers emotional images that purchasers need into modeling design. Moreover, by integrating the popular product design and the cultural creativity of Taiwan aboriginals, the fascinating and innovative product is thereby formed. In the past, the outlooks of laptops have been evolved from square and heavy to light and textural. Style becomes the decisive point of competitive laptop selling. This study takes laptops as the target and applies the former operation on it. It not only establishes the relationship of consumers’ emotions and design elements, but also adds in the representative graphics of Taiwan aboriginal culture to create a type of laptop that touches consumers.
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Wang, Hsiang-han, and 王湘涵. "A Study on Analyzing Cultural Creative Products." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/48545577958997242490.
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碩士<br>世新大學<br>公共關係暨廣告學研究所(含碩專班)<br>95<br>This research is different from the previous studies in global and macroscopic comparison, analysis and categorization of the nature of different creative industries. The objective of this study is to investigate the characteristics of different cultural creative products in current industries. We analyzed each product and the creative features of different types of industries. The analysis consisted of product content, consumer and product medium. For products with high creativity, we also discussed how cultural medium established an intermediate channel between products and consumers in order to communicate and interact effectively.
The methodology of this research was in-depth interview. In 13 core cultural creative industries, 7 representing industries of the highest efficiency ratio between input and output were used to investigate the definition of culture core industries producing high values. The case studies of the 7 industries were categorized to (1) mass production (film industry), (2) life show (music and performing arts industries), (3) mass communication (advertising industry), (4) traditional products (crafts industry), (5) digital content (digital entertainment industry), (6) creative service (design industry) and (7) monopoly (cultural facility for exhibiting and performing). We further conveyed the differences in categorization and analysis of the core characteristics of cultural creative products.
Based on the results of the analysis, we realized that in addition to the influence of different types of industries and the forms of creativities, the characteristics of cultural creative products could be altered via the means of different intermediate approach, depending upon the uniqueness of cultural markets and exchange costs compared with traditional products. Therefore, this study eliminated the limitations of different types of industries. The “core values” of culture, arts and business defined two catalogs of cultural creative products. Moreover, the “industrial characteristics” of production and consumption could make further distinctions in order to provide conceptual categorization which could be the reference of cultural intermediate control.
This study categorized the medium concept of the product characteristics into two roles: creative agents and creative managers. The former develops business with an emphasis of high creativity. Creativity is the root source of all executing procedures, and therefore the operation starts with forming creative concepts. The latter refers to people managing system creative industries that have already established managing systems. The medium is the manager itself. In reaching the creative goals and maintaining executing procedures, the cultural medium of different creative industries differs significantly. This study revealed that an efficient medium should be a focusing process which, depending on the nature of different product characteristics, expands the market of creative products efficiently.
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Wang, Wen-Cheng, and 王文正. "The influence of creative cognition in products." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/00726018886567266845.
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碩士<br>長庚大學<br>工業設計研究所<br>91<br>With the change of economy, consuming-oriented ideology for designing came to be much meaningful in consuming products. In addition, product demand, theories of creation and creative applications are changing. Today, concrete product is not consumers’ concerning; the personal experiences, content product and experienced product are the main concern. In other word, although products are designed from designers’ creation, users’ perception toward this creation is the key point. In this study, factors affecting users’ perception are discussed in order to eliminate difference between designers’ creation and users’ perception.
By adopting user-centered aspects, this research tries to understand users’ perception toward designers’ creation. This study investigate this issue through testing thinking style, analyzing creative personality, gathering creative products, comparing similarity and investigating creation attributes. Subjects are sampled from on-job 179 students in Ming-Chi Institute of Technology. Results are concluded by analyzing perceived area presented from MDPREF and INDSCAL in MDS. The results are: 1. Users with different backgrounds express different thinking styles, and their thinking about creative products and creation attributes show significant difference. 2. Product aspects of designers and users show significant difference. 3. Creative attributes from feeling as well as from experiences are indifferent in concrete product, content product and experienced product.
This research also offers several suggestions: 1. Designers should try to understand customers’ demand more so as to fit users’ anticipation in designing. 2. In design of concrete products, uses’ mental feeling should be considered more. 3. Approaches of educating public and promoting new thinking can eliminate differences between designers and users. 4. A statistic method of MDS, finding out subjects’ perceived area, is offered to be a practical tool of psychological study.
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Chuang, Mei-Yu, and 莊美玉. "Creative Designs for Pressure-releasing Massage Products." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/13807995857881561440.
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碩士<br>嶺東科技大學<br>科技商品設計研究所<br>100<br>Most of present market massage products are single-functional or multi-functional ones, however, are rather big and heavy without modeling design. This study tends to develop multi-functional pressure-releasing massage products with shape design. First, the development of present massage products is investigated through market inquiry. Furthermore, the in-depth interview with Chinese doctor was conducted to realize the factors for people getting illness due to working pressure and the releasing method. Then, the behavioral habits and the factors of consumers purchase decision were further investigated Based on survey. The functions of shape design, warming, vibration, and kneading were selected through SPSS to analyze the questionnaires. Bionic design was utilized as the shape design for dividing the massage methods into operation direction and functioning surface according to such requirements to develop the product. The former is transformed into mechanical design parameters, and the latter is simplified into dots, lines, surfaces, and lotus-shapes. Finally, the optimal bionic objects of shape and product functions were discovered; the design idea is drawn by hand; and, the simulated style is drawn with 3D. This study tended to provide the reference for designing massage products with functions and shape.
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Chou, Chia Yu, and 周家羽. "Creative Design for Paper Products in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/09955897643708948115.
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碩士<br>臺北市立教育大學<br>視覺藝術學系碩士班<br>100<br>Paper is one of the most common materials used in everyday life. Since the invention of paper, its lightness, convenience and inexpensiveness have made it popular all over the world. With the advancement of papermaking process, paper has become versatile in usage, having turning out various kinds of daily necessities. Paper certainly plays an important role in human civilization. Whilst industrialized manufacture has produced a wide variety of paper types, it also makes people neglect the original aesthetics and significance of paper. By exploring paper products with styles in design and diversity in texture quality, we can bring paper applications back to our lives and eventually appreciate its intrinsic beauty. In addition, we will be able to attain spiritual richness through experiencing the simplicity and warmth of paper.
In order to introduce the true beauty of paper products to the public, we must start from the education of paper culture. Making handmade paper and appreciating paper crafts, even buildings made of paper, will not only give us a better understanding of paper, but also enrich our minds. The papermaking industry will also find prosperity through the promotion of paper culture, and the whole industry will be geared toward creative designs, while presenting an even greater versatility of paper to touch people’s hearts. It is true that currently there are not so many paper products with good design in Taiwan, and there are only a number of institutions in Taiwan dedicated to the education of paper culture. If we can encourage the public to treasure the legacy and ways of making papers in Taiwan through the promotion of paper products, benefits of culture and creative industries will be brought to the nation while the society gains an aesthetics refinement.
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HSU, Chi-Hsien, and 徐啟賢. "Transformation Model for Cultural Creative Product Design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/08770173143914459153.
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博士<br>國立臺灣藝術大學<br>創意產業設計研究所<br>102<br>Each country has its uniqueness of traditional culture and life style. As the promotion of cultural innovation industry becomes the core of national economic strategy, the global market is focusing on the design with local characteristics and the application of innovative design is being the competitive advantage of enterprises. Taiwanese prosperous cultural characteristics can be the potential application-value in design field as the source of innovative ideas and concept developments. However, current design theories, methods or models are not only hardly to fit the needs of the analysis of cultural comprehension and idiosyncrasy of cultural content but also leading to the research of theoretical model, framework of level attribution or new design model and strategy. We’ve seen the lack of overall design implement and application and the exploration of consumers’ comments and cognition. This approach undertaken in this study includes four phases. The first phase started with a synthesis of literature review, experts’ opinions, and appropriate principles from “cultural attributive analyses” and “transformational thinking in design” in order to establish the model of design. By the first phase, we implemented the design to develop the possibility of cultural characteristics applied to the product, which could be an indication of the effectiveness of this model. Moreover, we gave a questionnaire survey to 373 undergraduate and graduate students investigating consumers’ perception and preference and also took MDS analysis and SPSS Statistics to check the effectiveness of the implementation of this model and the influence factors of innovation design. Finally we checked the effectiveness of the promotion of this model in educational institutions. We gave recommendations, as reference for future design and marketing, in order to contribute to the cultural product design and clarify consumers’ cognition and demand.
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YU, CHIEN-YUN, and 于倩芸. "Huashan 1914 Creative Park Product Positioning Research." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49787814123189315160.
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碩士<br>實踐大學<br>企業管理學系碩士在職專班<br>103<br>The trend of globalization has accelerated economic developments, and the creative and cultural industry has become the primary driving force in economies across the globe. Taiwan also recognized the demands of creative soft power. Repurposing idle large-scale industrial sites and historical buildings in developing creative parks in correspondence with modern renewal enable the public to get in touch more easily with the industry, while also providing leisure and educational functions, fulfilling the desire of the public for creative arts.
The main purpose of this study is to explore the relationship between value proposition, target audience, and product positioning of the Huashan1914 Creative Park via literature analysis, Osterwalder(2004) business model analysis, Jens Patrik(2011) symbolic meaning, Aaker(1994)’s product positioning and case studies. It is a quantitative research seeking to understand the product positioning of the research subject.
The study shows that target audience affects value proposition, and value proposition affects product positioning. However, currently the Huashan1914 Creative Park does not utilize price positioning, brand positioning, competitor positioning, purpose/application positioning, or product attribute positioning in their product positioning strategies. If the listed positioning methods could be used, it may better demonstrate the Creative Park’s function and performance in the creative and cultural industry.
Product positioning needs not to be static, but dependent on the changes in the environment and be evaluated upon the status of the enterprise; this is called repositioning. Huashan1914 must differentiate itself via characteristics different from other similar creative parks, change its business approach, and utilize product repositioning in order to promote its symbolic meaning in the creative and cultural industry.
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Shen, Shih Chieh, and 沈士傑. "A study of cultural and creative product design of micro entrepreneurs – The case study of little wooden products." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/2n9q7w.
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碩士<br>國立臺灣藝術大學<br>工藝設計學系碩士班<br>101<br>Under the global business competition, the cultural and creative industry has already become a development trend in the world. In recent years, many young designers and craft creators in Taiwan develop their business and brand starting from micro-entrepreneurship. Inspired by the European and Japanese wood craft culture industry, this study also upholds the mission of exploring the micro-culture development in terms of the factors of small-sized wood products design, hoping to provide workers aspiring to develop in the field of cultural and creative industry with the thinking strategies for wood products design.
This study is basically implemented in two phases. The first phase is a pre-survey experiment which sums up the design factors of the small-sized wood cultural and creative products through literature review of the existing design cases of Japanese and European wood craft brands. Taking the wood cultural and creative products developed by Wood Fun Design, a brand co-operated by the author and his friends, as the questionnaire analysis and verification objects, this study screens the small-sized wood product categories suitable for the micro-cultural and creative brand development and design. The second phase is designed to conduct a survey among 30 subjects who are professionals in the related fields, aiming to explore designers’ perception and preference in processing efficiency and design quality through factor analysis, multidimensional analysis and descriptive statistics of the survey results, and ultimately to reveal the design development process and design factors of small-sized wood cultural and creative products.
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TUNG, CHIA-CHI, and 董嘉琦. "A Study on the Relationships among Product Perception, Perceived Price and Purchase Intention of Cultural and Creative Products." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7c424f.
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碩士<br>僑光科技大學<br>企業管理研究所在職專班<br>107<br>Due to the development of Taiwan’s cultural and creative industries in recent years, consumer behavior research related to cultural and creative commodities has become an important topic. Therefore, this article explores the correlation among perception of cultural and creative products, perceived price, and purchase intention. In this study, data were collected and investigated using online questionnaires with the help of convenience sampling. Three-hundred-and-twenty-three valid questionnaires were obtained. The relevant variables of the scale were all measured using a Likert five-point scale. After the data were sorted and pooled, they were analyzed using the SPSS statistical software; regression analysis was performed to verify the correlation among the variables. The data analysis of this study shows that there is a significant and positive correlation between the following: perceptions of cultural and creative products and perceived price; perceived price and purchase intention; and perceptions of cultural and creative products and purchase intention. In summary, perceptions of cultural and creative products directly affect perceived price and purchase intention; moreover, purchase intention is also affected by perceived price. Therefore, consumers’ perception of cultural and creative products is very important to businesses engaging in the research and development of cultural and creative products, as well as their sales.
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Lai, Yi-Chang, and 賴易昌. "Two Products into New Models and Creative Function." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/98963622758322755560.
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碩士<br>國立高雄應用科技大學<br>工業工程與管理系碩士班<br>101<br>Patent 1 is an apparatus for NT Dollar coin. As it is the norm for use of a single slot channel used for processing mass amounts coins of various denominations and sorted accordingly, the design requirements regarding the volume of coin input and coin sorting posed our primary concerns.
Patent 1 is located within the upper part of the apparatus that allows the coins to be categorized on its passage downwards via its sorting mechanism, consisting of diagonal duct that also functions to sieve the currency accordingly to the bottom of the apparatus. Each denomination of currency on its passage down travels through openings of varying sizes where the coins falls through its corresponding opening, effectively sorting the currency from small to large openings respectively to the physical size of the coin. Additionally, the coin input mouth has a guiding mechanism that allows for a smooth processing of a large number of coins, having the advantages of a reduced error rate in coin sorting and higher efficiency.
Patent 2 is applied for seamless steel barrel for storage of highly pressurized liquefied gases: the entire container from the top to bottom of the storage barrel as a seamless pipe, including connection to the top cover and handles as well as the rim base at the bottom end of the barrel, thereby resolving welding issues found in conventional barrels. Installation of a solid element at the base of the barrel can prevent impact damage during transportation. Thus minimizing costs by achieving greater levels of safety, improving durability and reduction of rate of defectiveness.
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黃國記. "A Study of Cultural Creative Products of Cements." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/26022339221772482856.
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碩士<br>逢甲大學<br>經營管理碩士在職專班<br>103<br>Making use of concrete to develop various kinds of products is very common after Industrial Revolution. It is highly common and safe building material, which is easy to shape. It also has the advantage of low-cost ingredients and production equipment. Therefore, at the time when low costs and environmental protection are highly valued, concrete has gradually replaced the natural building materials such as wood and stone. Japanese architecture master, Ando Tadao, Pritzker Architecture Prize winner, has demonstrated the best example by using fair-faced concrete in construction.
The research mainly studies on how to organize and develop a set of marketing modes in cultural creative industry based on cultural creative marketing theories and interviews with people in this field. The purpose is to demonstrate the theory from Master KengoKuma that natural constructions are a good combination of places, building materials and sustainability of the Earth.
By making hand-cement products cultural and creative, concrete has evolved from building materials to materials for decoration. It is eco-friendly and artistic.
With this, we hope it can impact the production and sales of the traditional building material market, be deeply involved in the market channel system of ordinary consumers’ lives and further enhance construction builders’ or developers’ faith in hand-cement products.
The results of the research show that if leisure and tourism developers can use hand-cement products as building materials to build thematic bed & breakfasts and create natural, cultural and creative atmosphere, consumers tend to accept them easily.
Through the reflection on life, everything ranging from trees, grass, to stone can coexist meaningfully in the ecosystem. We believe that through promotions and studies on hand-cement products, we can give a new interpretation for the green architecture. People will no longer regard hand-cement products as cold and indifference; instead, they are warm and tender. The beauty it contains has become “a good will “to the world.
How to build up the hand-cements products the irreplaceable worth at the most reasonable and economic prices is what the hand-cement industry can work hard for. Consumers’ taste can influence developers and product designers to produce building materials which not only have physical beauty, but also are eco-friendly. This should be the course of development of hand-cement products as cultural creative products.
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Chia-Li, Hsu, and 徐嘉莉. "Creative Cultural Products by the National Palace Museum." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/09048292042679545859.
Full textAbstract:
碩士<br>高雄師範大學<br>視覺傳達設計研究所<br>95<br>Long known for the delicacy and artistic values of its collection, the National Palace Museum, a symbol that represents traditional Chinese culture, has for the first time stepped out of its border to meet the needs of modern-day consumers. In the year 2005, a new slogan was presented to the world 「Old is New – the fashionable Palace Museum」 setting a new image for cultural products. After publishing it’s first set of products, the National Palace Museum has won numbers of awards both worldwide and within Taiwan due to it’s special style of design and standard of delicacy. Which set a foundation stone for becoming a fine example of setting new image for museums. Therefore, this research uses the Content Analysis Research Method and looks through 20 creative cultural products that have already made the market with the reference of modern design, cultural consuming and previous studies on semeiology, with the aim to help the researcher understand how designers combine traditional cultural symbols on to creative cultural products.
Research shows that of the creative cultural products published by the National Palace Museum, they had the symbolic transformation styles of the below：1. Most design products show only transformation of artifact form, revealing the fact that most designers have too little background knowledge on the artifacts in the Palace museum. 2. Each designer has his or her level of innovation. 3. Most products strongly show the designing style of the company originally responsible for the design. 4. The creative cultural products are partly too simplex, making it hard to do any further design on such a product 5. Most products made are pointed at a younger and more feminine market and most products were made to meet spiritual satisfaction.
Conclusions made through this research are: 1. Designers use different methods to emphasize symbolic connections between artifact and product. 2. The designers make meaningful decisions in taking use of symbolic values of artifacts. 3. Creative cultural products are an outcome of modern consuming phenomenon. 4. Creative cultural products will go on to fulfill different markets. 5. Compared to other cultural products, creative cultural products will become of less use while symbolic values rise.
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Huang, Wei-ting, and 黃暐婷. "Creative Packaging Design for the Mediterranean Herb Products." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/76879599542049150299.
Full textAbstract:
碩士<br>雲林科技大學<br>視覺傳達設計系碩士班<br>98<br>On the market, the traditional packaging design that is for produce easily then be made by machine to mass-produce. Because of the role of a disposable supplies, the packaging is become more and more normalize and regularization, just for the cost down. Then, in most of time, when people mention about what is the packaging design looks like, that would be the kind of graphic design for the surface of packaging. And less detail or skill for the shape of packaging. In this packaging study, we try to do something different and new to change the old image for the traditional packaging to let it to be a surprise by itself. not only just for focus on the graphic design, or even for the most highly profit, but also try to challenge to re-definition the meaning of packaging design. To find a new packaging type that is not belong to the way of industrial or business''s packaging. In this study that is so different with other packaging on the market, whatever is for shape or the handcraft skill. The whole collection that is be made by the three-dimensional of shape with delicately handiwork for showing the unique packaging that is filled with the story for design to let the packaging could be a kind of collection for enjoy , enjoy and being reusable.
The main color of the whole collection that is from the truly color of material itself then that is easy to let people focus on shape. On the other hand, because of the more detail and still have so many pieces need to compose for one product that would not be easy to produce by machine. If someday in the future there is a chance for sale. It should be take good care about the quality thing. And in this case, to set bounds of number for sale, then try to make every each product to be a fine works. It should be take good care about the quality thing. And in this case, to set bounds of number for sale, then try to make every each product to be a fine works, and also sale with the other traditional packaging products for get the best benef i t s .