Creation Of Society Research Articles

Kūrybingumo ugdymas ‒ investicija į kūrybinę visuomenę

Purpose – Given the importance of the modern creative society, revealing the need for creativity in personality of education as a spiritual and intellectual elite exclusiveness, the role of visual expression, art, culture, historical knowledge and contemporary features, the teacher has the creator’s role of creativity in education in higher education institutions in Lithuania.Design/methodology/approach – Scientist literature reveals that creativity is the learner’s property and for that purpose, the universities adapt their original and innovative teaching and learning methods. Based on the case study, the author of this paper discusses the role of visual expression in fostering creativity, creative methods of education, and looks at Mykolas Romeris University subject’s called “Creativity ability and activities” curriculum.Findings – Creativity is not the exclusive property of talented people, but it is also available to each individual. Education and training can be an incentive and an obstacle to creativity. It is, therefore, necessary to create and adapt individual and original teaching and learning methods and an inquisitive society. A variety of methods is important in creative education. Education of art is the best way to reveal personal creativity. Teachers are artists, who provide a professional approach to their subject area. They are anexample of their life and work for a young person, the names of their famous universities in artistic creation, which is equivalent to faculty research scientists work.Research limitations/implications – The article provides an overview of only one subject in “Creativity ability and activities” methodology of creativity in the educational process. In addition, feedback of only one course student is included (N-90).Practical implications – In the creative process, students would see a positive selfassessment of their individual personality sides, understanding their own and other unique recognition and evaluation of self-discipline, emotional scale of the development and transfer of ideas, communication skills, ability to solve problems and apply knowledge.

Competition and innovation for smart and creative society (CISCS)

The globalization of world economy has changed many aspects of economic structure, speed of technology development, patterns of innovation, competition between nations as well as between companies. In addition, humanity is facing a new historical crisis of global climate, which has prompted varied perspectives of the impact and implication of this crisis on socio-economic horizon of societies. However, despite these various perspectives, there seems to be a converging view that global forces of technology and innovation have strengthened globalization of economic processes. Given this positivist view, it seems that the globalization process will be further intensified regardless of neo-liberalist groups or political progressive groups. (Dicken 2011; Stern et al. 2006). While the intensification of the globalization process has made the world economy more integrated than ever, it has generated a harsh competition environment for smalland medium-sized corporations (SMEs) and multinational corporations (MNCs) in domestic and global markets. Such a severe competition pushes companies, regional and national governments, and universities to collaborate with one another for creating technological innovation and development that arise from R & D activities. In order to be competitive, many advanced nations and newly industrialized nations have built a system of triple helix collaboration that is corporatism between industry, academia, and government. The platform of the triple helix is an innovative cluster in a region, representing a symbol of regional competitiveness as well as that of a national competitiveness in a nation. (Park 2012; Shienstock 2007; Porter 1998). Although there may still be gaps in our understanding of the innovation processes, it is clear that the technological innovation has made a major contribution to the world economy, as well as to the globalization processes. In particular, information and communication technologies (ICT) and transportation technologies have played pivotal roles in improving productivity based on automatization and flexibility, as well as in global logistics based on a rapid transportation system. Additionally, frequent innovation shortens product life cycles that increase competition between companies on national and global markets. (Dicken 2011; Florida 2008). The expanding globalization process based on economic competition between major economic actors has lead to the emergence of global environmental issues that we have to tackle in the twenty-first century. As a result, sustainable development has become the uppermost important issue in the global community. To create sustainable development, proper energy consumption and protecting environment have become key parameters of the global environmental agenda. Therefore, many nations are keen to integrate technology innovation into low-carbon-based green growth strategies that can be the first step towards building a smart and creative society. (Kang 2012). Furthermore, the global economic environment has been changed fundamentally since the global financial crisis starting with subprime mortgage crisis in the US housing market in 2008. Since then the major world economies such as the USA, the EU, and Japan have been sluggish, while the new emerging markets such as China and India continue to generate a relatively high economic growths. Due to the global economic downturn, national economies have been facing challenges how to recover their economic S.-C. Park (&) Graduate School of Knowledge Based Technology and Energy, Korea Polytechnic University, Seoul, South Korea e-mail: scpark@kpu.ac.kr

The Factor in the Technological Creativity of V–VI Formers

The article analyses how technological education determines the creativity of 5th–6th formers. Technological education is an integral part of general education. It makes it possible for students to act creatively, to choose flexibly – which is essential for anybody regardless their gender in the constantly changing socio-cultural environment, and to be able to use simple technologies at a user level. The article considers the development of students’ creativity in a systemic approach. Technological education is perceived as a complex of social and educational factors determining students’ creativity.
 In a creative society creativity is important in all spheres of activity where creative material becomes the basis for competitive advantage in the economy of the global market. The changes in the development of students’ creativity are conditioned by the fluctuation in educational paradigms, learning environments, general education programmes. Creativity is understood as a complex of personal qualities that manifests itself as an ability to offer new ideas, to think non-stereotypically, to orient oneself quickly in problematic situations, to find original solutions easily, which is determined by talents and interests. A systemic approach to creativity requires a systemic assessment of creativity development factors.
 Technological education is an integral part of general education. It originates from the idea of a “working school”, technologies as a school subject, teaching crafts, polytechnic and professional education. Technologies include material and human intellectual resources, scientific and practical knowledge and ways of organizing work. Technological education can be treated as a complex of both educational and social factors that promote students’ creativity.
 The method of factor analysis highlighted the following socio-educational factors of 5th–6th formers’ creativity development in technology classes: participation in the activities which are important for the school community; aesthetic activity; communication – cooperation; democratic relations; independent and responsible activity; individual activity; folk art recognition; promotion of activity; group work. Two factors have the most important influence on the development of students’ creativity: participation in the activities which are important for the school community (20.779 percent of dispersion) and participation in aesthetic activity (7.401 percent of dispersion). Nonetheless, the dispersion of social activity is almost three times bigger than that of aesthetic activity.
 Students’ creativity in technology classes is mostly determined by social factors. Out of the nine distinguished factors as many as four are of social character and only two (group work, individual work) are of educational character. Two creativity factors are related to aesthetic-artistic activity (aesthetic activity, folk art knowledge).
 Technology teachers see the source of creativity in their students’ interests. The tasks that correspond to students’ interests promote creativity. Technology teachers give a positive evaluation of the influence of individual and group work methods on creativity development. Teachers treat group work methods as a means of creating a favorable learning environment which creates “group enjoyment”. However, teachers state that it is impossible to do without individual work in technology classes. Technological tasks have to be performed accurately, with precision. They require a lot of time. Hence competitive methods are not suitable as competition can diminish the quality of work. Teachers think that in technological education both cooperative learning and individual work are important.

創造社会を支えるメディアとしてのパターン・ランゲージ

これまでの消費社会からコミュニケーション社会（狭義の情報社会），そしてこれから到来すると考えられる「創造社会」への移行とともに，創造活動を支援する「クリエイティブ・メディア」の重要性が増してくる。本稿では，クリエイティブ・メディアの1つとして，デザインにおける経験則を記述する「パターン・ランゲージ」を取り上げ，その可能性を考察する。もともと建築デザインのために考案され，後にソフトウェア・デザインに応用された方法を，人間活動のデザインに応用した事例として，ラーニング・パターン，プレゼンテーション・パターン，コラボレーション・パターンを紹介する。また，それらの人間活動のパターン・ランゲージを，パターン・ランゲージの進化における第3の波ととらえて「パターン・ランゲージ 3.0」と名づけ，その特徴をデザインの対象，デザインの特徴，ランゲージの使い方の観点から比較・検討する。

Renewal of the Rights Discourse

Rights are vital for the arrival of equal beings. Of late, rights are marginalised in the context of capitalism-led pauperisation and heightening ascriptive discrimination. In social sciences, rights discourse has been replaced by citizenship discourse wherein the state becomes the decider of rights. In this context, rekindling of rights discourse becomes immensely significant in the backdrop of creative theory. Rights are political affirmations and delinked from duties. There have to be interdependence and interconnection of varied rights. Besides, the new direction of rights emphasises on theorisation of world or critical knowledge production domain on four accounts (production of collective epistemic, arrival of critical theory, treatment of critical knowledge as counteraction of post-ideologies/ism /philosophies and delinking abstract and concrete rights). Reconceptualisation of rights in creative society brings back the domain of normative political theory while highlighting the deficiency of prevalent system along with the urge for an alternative system by struggling equals.

Class-ifying London

Richard Florida's Rise of the Creative Class of 2002 ends with a clarion call for a post-industrial, post-class sensibility: ‘The task of building a truly creative society is not a game of solitaire. This game, we play as a team.’ Florida's sentiment has been echoed across a broad and interdisciplinary literature in social theory and public policy, producing a new conventional wisdom: that class antagonisms are redundant in today's climate of competitive professionalism and a dominant creative mainstream. Questions of social justice are thus deflected by reassurances that there is no ‘I’ in team, and that ‘we’ must always be defined by corporate membership rather than class-based solidarities. The post-industrial city becomes a post-political city nurtured by efficient, market-oriented governance leavened with a generous dose of multicultural liberalism. In this paper, we analyze how this Floridian fascination has spread into debates on contemporary urban social structure and neighbourhood change. In particular, we focus on recent arguments that London has become a thoroughly middle-class, post-industrial metropolis. We evaluate the empirical claims and interpretive generalizations of this literature by using the classical tools of urban factorial ecology to analyze small-area data from the UK Census. Our analysis documents a durable, fine-grained geography of social class division in London, which has been changed but not erased by ongoing processes of industrial and occupational restructuring: the central tensions of class in the city persist. Without critical empirical and theoretical analysis of the contours of post-industrial class division, the worsening inequalities of cities like London will be de-politicized. We suggest that class-conscious scholars should only head to Florida for Spring Break or retirement.

The creative society--and the price Americans paid for it

The Creative Society is the first history to look at modern America through the eyes of its emerging ranks of professional experts, including lawyers, scientists, doctors, administrators, business managers, teachers, policy specialists and urban planners. Covering the period from the 1890s to the early twenty-first century, Louis Galambos examines the history that shaped professionals and, in turn, their role in shaping modern America. He considers the roles of education, anti-Semitism, racism and elitism in shaping and defining the professional cadre and examines how matters of gender, race and ethnicity determined whether women, African Americans and immigrants from Europe, Asia, Latin America and the Middle East were admitted to the professional ranks. He also discusses the role professionals played in urbanizing the United States, keeping the economy efficient and innovative, showing the government how to provide a greater measure of security and equity, and guiding the world's leading industrial power in coping with its complex, frequently dangerous foreign relations.

CREATIVE ECONOMY AND TECHNOLOGIES: SOCIAL, LEGAL AND COMMUNICATIVE ISSUES / KŪRYBOS EKONOMIKA IR TECHNOLOGIJOS: SOCIALINIAI, TEISINIAI IR KOMUNIKACINIAI ASPEKTAI

The article deals with the philosophical questions of creative economy. Appealing to J. Howkins, R. Florida and other theorists of creative economy, the author analyses such aspects of creative economy as the need for enterprise, obsession by consuming, fusion of labour and leisure, integrality of the activities, striving for individual autonomy and privacy. The response to economical changes and social challenges could be creativeness that emerges in certain social and economical environment. The author pays attention to legal aspects of creative economy and analyses the role of technologies in the creative society. The author also focuses on the contradictory aspect of the copyright and patent right in creative economy. By expressing the creators’ right to just reward copyright restricts creative communication while patent right expresses aspirations to privatize social property, including nature. The relations between technologies and creative economy refer to social changes, too. Firstly, economic relations could be treated as social technologies. Secondly, technologies (especially e-technologies) are the base of creative industries that ensure economical growth. Thirdly, technologies are indispensable to the consuming that both demands new products and generates the very economy. Santrauka Straipsnyje nagrinėjami kūrybos ekonomikos filosofiniai klausimai. Apeliuodamas į J. Howkinsą, R. Floridą ir kitus kūrybos ekonomikos teoretikus, autorius nagrinėja tokius kūrybos ekonomikos aspektus, kaip verslumo reikmė, vartojimo manija, darbo ir laisvalaikio susiliejimas, veiklų integralumas, individualios autonomijos ir privatumo siekis. Atsakas į ekonominius ir socialinius pokyčius galėtų būti kūrybingumas, kuris kyla tam tikroje socialinėje (ekonominėje) aplinkoje. Autorius atkreipia dėmesį į teisinius kūrybos ekonomikos aspektus ir analizuoja technologijų vaidmenį kūrybinėje visuomenėje. Pabrėžiamas autorių ir patentų teisės prieštaringumas kūrybos ekonomikoje. Išreikšdama kūrėjo teisę į teisingą atlygį, autorių teisė apriboja kūrybos komunikaciją, o patentų teisė išreiškia siekius privatizuoti visuomeninį turtą įskaitant gamtą. Technologijų ir kūrybos ekonomikos santykiai taip pat išreiškia visuomeninius pokyčius. Pirma, ekonominiai santykiai gali būti traktuojami kaip socialinės technologijos. Antra, technologijos (ypač e. technologijos) yra kūrybinių industrijų, užtikrinančių ekonominį augimą, pamatas. Trečia, technologijos neatsiejamos nuo vartojimo, kuris reikalauja naujų produktų ir generuoja pačią ekonomiką.

Perspective for Copyright Levies (Compensation for Authors and Neighboring Rights Holders for Private Copying) after EUCJ Padawan Decision

The article investigates the discourse on the media and equipment levies (compensation to authors and related rights holders for the personal copying - copyright levies) in Lithuania, European Union and some other countries. The article thoroughly considers the nature of copyright levies, premises for establishing the levy system, as well as purposes of such system (functional rationale). Provisions of the EU Directive 2001/29/EC on the harmonization of certain aspects of copyright and related rights in the information society, as well as the Lithuanian legislation pertaining to copyright levies are thoroughly analyzed. Scholarly work on the topic in Lithuania is reviewed and assessed. It is discovered that scholarly positions are separated along the ideological divisions of intellectual property law, and are generally representative of the general doctrinal approach to intellectual property. Conservative classical approach understands levies as the compensation for statutory license, while liberal and epistemic approach considers levies detrimental to the creative society, socially unjust and serving one specific interest group at the expense of society at large. It is also concluded from the analysis, that theoretical approach to levies in Lithuania is not original and rather representative of the academic debate on the matter in Europe. Specific peculiarity in Lithuania is a notable Supreme Court case law (Trajektorija case), which extensively deals with the nature and scope of copyright levies.The European Commission identifies copyright levies as one of the key reform areas in the copyright law. It is also closely related to collective administration of copyright, another reform area. In Lithuania, as well as many other European countries, there are pending legislative proposals on significant extension of the copyright levy system. Newest decision of the European Union Court of Justice in the Padawan case has introduced urgency to the matter, as well as significant new considerations on the possible scope of the levies. Main conclusion of the Padawan case is that the indiscriminate application of the levy, in particular with respect to digital reproduction equipment, devices and media not made available to private users and clearly reserved for uses other than private copying, is incompatible with the Directive. This effectively means that copyright levies shall be collected only on media and equipment, which is sold to consumers. In Lithuania the matter was subject to notable case law in the 2008 Supreme Court case of LATGAA v. Trajektorija, which provided rather controversial interpretation of the EU Directive, which is now in direct conflict with the Padawan interpretation. Moreover two additional cases directly related to copyright levies are pending in the European Union Court of Justice.The article provides an analysis of the Padawan case conclusions, as well as review of considerations for future reform of the levy system. Two possible reform directions are identified – restriction of the private copy rights and abolition of the levy system, as well as imposing the levies at the retail level. Both options are more socially acceptable that the current all embracing levies. A third way may be a system of exceptions, where levies may be reimbursed for non-private users, along with the thorough review of the tariffs and levy base, based on the calculation of harm caused to authors of protected works by the introduction of the private copying exception. For Lithuania, where the existing research suggests a very small harm, abolition of the levy system may be the opportunity to increase competitiveness, hence a preferred way of action in reforming the levy system.

Creativity Economy and a Crisis of the Economy? Coevolution of Knowledge, Innovation, and Creativity, and of the Knowledge Economy and Knowledge Society

In this article, we define conceptually the “creativity economy” and suggest a model that interrelates creativity, knowledge, and innovation economies. The “creativity economy” surpasses earlier concepts of the “creative economy” (creative industries, creative occupations). We discuss patterns of a complex dialectic and cyclical interaction between phenomena of a crisis and creative and/or innovative activities. Economic growth stimulates investments in innovation that drive creativity and innovation, consequently resulting in further economic growth. However, at a certain level, creative and innovative activity may peak in context of the economic cycle, and the rate of economic growth could be slowing down again. If there is too much innovation, then this creates challenges in the sense of questioning the established structures, finally creating a need for developing new structures. Organizations, societies, economies, or systems can be more or less successful in doing so. There operates a coevolution between knowledge, innovation, and creativity on the one hand, and the knowledge economy and knowledge society on the other. The more advanced and mature a knowledge economy (creativity economy) and knowledge society (creativity society) are, the more knowledge, innovation, and creativity can be absorbed and are even being demanded for further progress.

Globalios architektūros pavidalai Vilniaus kontekste

Analizuojamos globalios architektūros apraiškos Vilniaus mieste Gugenheimo Ermitažo muziejaus pavyzdžiu. Aptariami architektūros atsiradimo ypatumai. Globali architektūra skiriasi nuo lokalios architektūros savo atsiradimo prielaidomis, realizavimo galimybėmis ir savo architektūrine išraiška. Tačiau, nepaisant šių aplinkybių, Lietuvos kūrybinės sąjungos ir pavieniai kūrėjai vertina globalią architektūrą iš lokalių pozicijų. Jie naudoja sampratas ir metaforas, susiformavusias lokalioje aplinkoje. Todėl vertinimai įgauna neigiamą konotaciją.

Sociology as a Quest for a Good Society

Quest for a good society has a long pedigree in sociological thought and critical reflections. It vibrates with many themes of liberation, morality and justice in classical sociology as pioneered by thinkers such as Marx and Durkheim and themes of decent society and creative society in recent theoretical discourses. The present essay discusses this quest for a good society in contemporary social sciences with a detailed discussion of the work of Robert N. Bellah, the pre-eminent sociologist of our times. It discusses Bellah’s quest for a good society in Japan and the US and in the process it discusses related themes such as dynamic harmony and dynamic sunyata.

Toward a Collaboratively Creative Society through Human-Robot Symbiosis

Toward a Collaboratively Creative Society through Human-Robot Symbiosis

Urban Life-Worlds in Motion: In Africa and Beyond

Although throughout the history of anthropology the ethnography of urban societies was never an important topic, investigations on cities in Africa contributed to the early theoretical development of urban studies in social sciences. As the ethnography of rural migrants in towns made clear, cultural diversity and creativity are foundational and permanent elements of urban cultures in Africa (and beyond). Currently, two new aspects complement these insights: 1) Different forms of mobility have received a new awareness through the concept of transnationalism. They are much more complex, including not only rural–urban migration, but also urban–urban migration, and migrations with a destination beyond the continent. 2) Urban life-worlds also include the appropriation of globally circulating images and lifestyles, which contribute substantially to the current cultural dynamics of cities in Africa. These two aspects are the reasons for the high complexity of urban contexts in Africa. Therefore, whether it is still appropriate to speak about the “locality” of these life-worlds has become questionable. At the same time, these new aspects explain the self-consciousness of members of urban cultures in Africa. They contribute to the expansive character of these societies and to the impression that cities in Africa host the most innovative and creative societies worldwide.

Impact of Services on Sustainable Development of Creative Society

Impact of Services on Sustainable Development of Creative Society

K. Goto and Y. Fukuhara, Working in The Third Sphere: Towards a Sustainable and Creative Society, Yuhikaku, 2005

K. Goto and Y. Fukuhara, Working in The Third Sphere: Towards a Sustainable and Creative Society, Yuhikaku, 2005

Career orientation of secondary school students (m/f) in the Netherlands

In this paper, a new perspective is developed to promote a positive relationship between young people and technology. An in-depth study of the values young Dutch secondary school students feel are essential in their future profession was made. Following organisational psychologist Edgar Schein, we distinguish career anchors, each with their own core value. These core values show that differences between young people are considerable and explain why it is often so difficult to get grip on the decisive factors in the choice of a career. Although all girls have to deal with the masculine image of technology, they are not a homogenuous group as they pursue different values. Many of the anchors can be fullfilled by following study and career path in technology. However, current careers in technology are insufficiently associated with values such as creativity, service, autonomy and entrepeneurial. The educational system has been emphasizing the functional, expert anchor, but is gradually changing and preparing for the rise of the creative society that has been described by the economist Richard Florida. In contrast with Schein, we show that career anchors can already be indentified in secondary school students and added a new anchor identity.

From creativity to innovation

Talent is the bedrock of a creative society. Encouraging and developing talent involves mobilizing culture and tradition, building institutions to increase the stock of human capital, enhancing its quality, and instilling values that favor achievements and initiative. The productivity that emerges from this talent, in the form of ideas, can be increased by nurturing wikicapital—the capital arising from networks. Translating creativity into innovation is a function of multiple incentives, and sustaining innovation is inseparable from heavy investment in research. Ultimately, the transition from innovation to commercially viable products requires the midwifery of many service providers and the entrepreneurial skills of firms small and large. © 2007 Elsevier Ltd. All rights reserved.

Satyagraha in creative society

Satyagraha in creative society

Surfing with Horkheimer and Adorno in the O.C.

Seminar In Experimental Critical Theory V University Of California Humanities Research Institute Irvine, California August 11-22, 2008 During two weeks this August, cultural critics, media theorists, artists, union organizers, gamers, and bloggers gathered amid the malls and mega churches of Irvine, California. Media theorist Toby Miller and critical race scholar David Theo Goldberg organized the fifth Seminar in Experimental Critical Theory (SECT) around the theme Societies/Cultural Industries/New Humanities. We were in the O.C. to discuss neoliberal uses of cultural production--branded as industries--for global urban development and labor schemes. It seemed appropriate to be doing this in the place where so many of the Frankfurt School refugees, architects of the critique of the culture industry, did time. In addition to Miller and Goldberg, presenters included John Hartley, Dick Hebdige, Richard Maxwell, Angela McRobbie, Kate Oakley, Lisa Parks, Andrew Ross, and Yuezhi Zhao. Creative industries or cultural industries (CIs) are the names given to the influential policy movement that proposes that creative individuals (everyone from artists, designers, and architects to workers in mass media and IT) are the key labor sector for post-industrial structural transformations in urban economies. This drives the ubiquitous transformation of vacant buildings into lofts and the need for every city to have their own starchitect-designed museum. Richard Florida, author of The Rise of the Creative Class (2002), is a central and controversial figure in this policy movement. Florida advises cities to direct planning and policy with in mind because jobs, development, and economic revitalization will follow this class to the cities they inhabit. The presentation at SECT began from the assumption that CI policies are part of a larger shift that, as Miller pointed out in his introductory remarks, has been occurring at least since 1966 when Ronald Reagan, then a California gubernatorial candidate, gave a speech proposing the evisceration of Great Society programs with the Creative Society. The Creative Society would depend on individuals, instead of government, to solve social problems. This was a convenient response to the declining industrial sector of the United States economy and the exporting of manufacturing. All that was left to domestically produce was intellectual property, culture, and creativity. This shift, however, would require a recasting of the role of the arts and humanities. They could no longer simply endow the elite with cultural capital and train them to be effective industrialists; they must also produce a resource to be mined--the creative individual. One of the central critiques of CI policy, presented convincingly at SECT by Ross, is the way creativity is used to justify the global destabilization of jobs. The mythology of the struggling artist working happily on the periphery of society, paycheck to paycheck, gig to gig, becomes and model for all types of work recast as flexible and creative. But how do we address the differences between a workforce of individuals who genuinely desire to be free agents and the forced precarious labor of post-Fordism? …