Creative Output Research Articles

The Effect of Cultural Orientations on Country Innovation Performance: Hofstede Cultural Dimensions Revisited?

Purpose. One of the perspectives that receives the most attention from studies in international business is cultural dimensions. This is due to the greater complexity and incidence of cultural aspects in economic performance. This paper explored the moderation effect of cultural orientations on the creation of innovation trajectories related to levels of innovation and their outcomes in countries from various geographical areas between 2011 and 2021. Design/Methodology/Approach. A growth trajectories model is conducted to achieve the research’s aim, considering the country’s cultural orientation, innovation inputs (institutions, human capital and research, infrastructure, market sophistication, and business sophistication), and impact on innovation output. The Global Innovation Index, Globe Project, and Global Entrepreneurship Index databases used this analysis, containing data from nations on different continents. The trajectories’ analysis approach is utilized to achieve the desired goal, which allows for the assessment of the variations in innovation trajectory across countries with cultural tendencies towards performance and humane orientation from 2011 to 2021. Findings. The literature affirms positive results for various innovation inputs, but the results show differences in innovation outputs. The difference is related to their inputs (institutions, human capital and research, infrastructure, market sophistication, business sophistication), institutions, and market sophistication. Additionally, a difference depends on the country’s performance culture, generating options to obtain higher outputs, such as knowledge and creative results. Research Limitations/Implications. Based on the results achieved, an attempt is made to provide a different perspective on innovation, especially evaluating the results over time and identifying decreasing trajectories that affect the innovation results in countries with different economic development conditions and cultural characteristics. Practical Implications. The results achieved make it possible to strengthen the analysis of the countries’ strategies regarding innovation, especially in the permanent evaluation of the results, which encourages changes in the execution of innovative activities to maintain their performance over time. Social Implications. The contributions allow us to understand the dynamics of innovation in countries’ knowledge and creative outputs over time. Originality/Value. The trajectory analysis used in the data analysis is perhaps one of the most robust techniques for a time series analysis. This allows for identifying trajectories for the study’s independent variables and their influence on a country’s innovation.

Dead Living Things: A Cabinet of Curiosities in the Postcolony

This article offers a reflection on a research-led practice project titled Dead Living Things: A Cabinet of Curiosities in the Postcolony through which I explored how academic research can inform and be extended into creative practice. While the project resulted in both creative and textual outputs, the focus here is on the creative output, consisting of a physical cabinet of curiosities filled with a curated collection of found objects, accompanied by a catalogue/artist’s book in hard copy and digital format. The creative work aimed at exploring how a cabinet of curiosities can be used to tell stories informed by postcolonial theory that confront colonial narratives in the contemporary South African context. This article contextualises the creative output by discussing the history of cabinets of curiosities and pointing out their link to colonialism and their influence on contemporary art. This is followed by a reflection on the development of the project, which I carry out by plotting my process onto the iterative cyclic web model of practice-led research and research-led practice developed by Hazel Smith and Roger Dean. I conclude by describing the content, categorisation, and display of the cabinet and the catalogue. Research-led practice, which involved an extensive literature review, visual research, and archival research, guided the conception of the content and form of the final work and resulted in creative work with the potential to be recognised as research output. I found the iterative cyclic web model useful for describing and understanding how the project unfolded, and for understanding the many other possibilities for approaching and developing creative output as research.

Contributions of creative outputs to economic growth: A disaggregated analysis

This paper studies contributions of creative outputs to economic growth across a sample of 131 nations. Results show that the contributions of overall creative outputs to economic growth are statistically insignificant; however, upon disaggregation, creative goods and services show positive growth dividends, especially in 5‐year growth. In contrast, growth returns from capital formation are more immediate, while those from labor are diffused. ISO quality certifications showed positive growth effects. When contributions of creative goods were examined across nations with different growth rates, creative goods and services positively contributed to 5‐year growth in median growth nations, but not elsewhere.

Which two heads are better than one? Uncovering the positive effects of diversity in creative teams

AbstractWe examine how diversity affects teams' output in the creative uses task. Diversity among team members' experience or knowledge leads to greater creative output; however, diversity over observable characteristics has no measurable impact. Surprisingly, we find no correlation between experiential diversity and diversity over observable characteristics in our sample. We propose that creative organizations can benefit by also emphasizing experiential diversity when constructing diversity policy to foster effective teams.

Improving student creativity through digital technology products: A literature review

Teachers have increasingly included digital technology products in their curricula to improve students’ creativity. In order to understand the most widely used digital technology products and their impact on students’ creativity, 61 articles indexed by the Social Sciences Citation Index (SSCI) were reviewed. Our review revealed that the articles investigated six categories of digital technology products (information saving-sharing, digital gaming, digital design, digital writing, robotics, and virtual learning environment), used four methods to measure students’ creativity (students’ creative characteristics, outputs, process, and learning environment), and analyzed five ways that digital technology products influence students’ creativity (increasing motivation, professional activities, higher order thinking, creative cooperation, and cognitive load). Our analysis of the literature indicates that the impact of digital technology products on students’ creativity is mixed and depends on teaching strategies and learning behaviors. We identify research challenges and important areas for future research.

Translingual Poets in Colonial and Postcolonial Taiwan

In the mid-1940s, Taiwan underwent a change of ruling power from colonial Japan to the Kuomintang Party from China. Both governments implemented monolingualization on the Taiwanese population. In this article, we examine the situation translingual position in a historical aspect, dwelling in detail on the work of the outstanding Taiwanese poet Chen Qianwu. We come to several conclusions that may be useful to researchers in the field of translingual literature. 1. Taiwans translingual poets, born in the 1920s, found themselves in a situation of permanent code switching: using the local dialects of Hokkien and Hakka in everyday practice, they were trained in Japanese and used Japanese in a wider society. 2. Although the switch between one monolingual paradigm and another violated the creative result of translational authors, this did not exclude the experience of multilingual realities and interlingual influences that they experienced from the fragmentation of local identities, especially during the development and formation of Taiwanese linguistic consciousness. 3. The literary intermediaries between the paradigms were: the classical Chinese writing, brought with the first immigrants from China; vernacular Chinese writing, influenced by the New Literary Movement in the 1920s; Taiwanese writing based on the most common dialects, Hokkien and Hakka (the idea of speaking and writing in unison); Japanese writing, which was originally studied in school along with Chinese, but supplanted it. The switch from Japanese, the colonial official language, to Mandarin Chinese, the postcolonial official language, led to a so-called translingual generation of literary writers. While the switch from one monolingual paradigm to another disrupted the creative output of the translingual generation, it did not prevent these writers from developing a Taiwanese consciousness. As illustrated by the poet Chen Qianwu, language crossing experiences strengthened the translingual generations assertion of their local identities.

A Computational Study of Empty Space Ratios in Chinese Landscape Painting, 618–2011

Abstract The use of empty space (ES) is ubiquitous in Asian art. The authors use a computational method to quantitatively assess the amount of ES in Chinese landscape painting (CLP). The data show that 56.8% of ancient CLPs contain mostly ES, while only 9.4% from modern times do. ES reached its peak during the Yuan dynasty (1271–-1368) and its lowest point in the 1960s. Chan culture, literati ink play, the “exhibition hall effect,” and Maoist politics, as well as other social factors, may have had an impact on this shift. This empirical study indicates that art keeps abreast of current developments: The philosophy, culture, politics and general education of a specific era influence artists’ perception, aesthetics and creative output.

An Unwavering Passion: Doran Ross's Scholarship on Asafo Flags

An Unwavering Passion: Doran Ross's Scholarship on Asafo Flags

From Crunch to Grind: Adopting Servitization in Project-Based Creative Work.

The digital game industry has embraced servitization - a strategic orientation toward customer centricity in production-based firms - to deeply monetize digital games. Though some note the resource-intensive nature of delivering services and suggest inherent risks in its adoption, extant literature is uncritical. This article draws on labour process theory to critique the impact of servitization on workers at the point of production. We conducted in-depth interviews at a large North American game development studio. The results show the human cost of servitization, generally overshadowed by financial considerations. Specifically, we theorize that servitization increases the indeterminacy of labour and this must be compensated for if servitization is to realize its cost-benefit potential. The result is an intensification of labour through additional control imperatives which make workers accountable to consumers through deterministic success metrics, impact the creative process and direct creative outputs in real time.

Managing the trade-off between autonomy and task interdependence in creative teams: The role of organizational-level cultural control

In the creative industries, creative output is often produced in temporary project teams, staffed with employees from within the organization. In this study we make two main contributions regarding the management of creative performance in such teams. First, we provide evidence for a fundamental trade-off inherent in creative teamwork. Team creativity benefits both from high team member autonomy and high task interdependence, but when team leaders give higher autonomy to team members then this undermines the positive effect of a more interdependent design of teamwork on team creativity, and vice versa. Second, we argue that cultural control at the organizational level is an effective means to resolve this team-level trade-off and to enable teams to leverage both high autonomy and high task interdependence for higher team creativity. We test our hypotheses using survey data collected at three different organizational levels (team members, team leaders, and agency heads) from 372 individuals of 101 temporary project teams within 53 advertising agencies, and find evidence consistent with our predictions.

The Time Moving exhibit: Exploring perceptions of time in end-of-life experiences.

BackgroundConversations about end of life rarely take place beyond healthcare spaces and in advance of imminent death. As the Canadian ageing population increases and new policies and options emerge for end‐of‐life choices, there will be an increasing need for supports for decision‐making on end of life. Time Moving was a participatory art exhibit created to engage participants in reflections on end‐of‐life experiences and the ways in which their perception of time fluctuated within these moments.DesignA participatory and constructivist approach informed decisions on exhibit design and analysis. The Time Moving exhibit was installed in a downtown university hall for 10 days during the 2019 annual DesignTO festival, open to all members of the public. The exhibit was used as the primary method of data collection. There were three prompts informed by concepts from prior work on time perception. Participants were invited to respond by drawing, writing or constructing.OutcomeThere were over 120 contributions of participants over the duration of the Time Moving exhibit. These contributions revealed new insights related to temporal perception and end‐of‐life experiences. Participants shared their perception of time during end‐of‐life experiences in a variety of ways, revealing a diversity of perceptions of time beyond calendar and clock time, including time experienced as a spiral.ConclusionsThe insights on time perception highlight opportunities for approaching dialogue on end of life and in grief support, and for exhibit as a mechanism for research and education.Patient or Public ContributionAs a public exhibit, over 120 people contributed ideas, personal stories, drawings and other creative outputs to the exhibit. An estimated 250 people visited the exhibit.

Self-regulation practice of advertising industry in Malaysia: Outlook of industry players awareness and application.

The purpose of this study is to investigate the experiences of advertising practitioners and advertising agencies creative teams in Malaysia specifically within the process of modifying creative output with reference to the two self-regulatory rules that govern the advertising industry in Malaysia. Players in the industry are required to take responsibility and abide by the rules outlined in two Advertising Self-Regulations (ASR) that are part of the Malaysian Code of Advertising Practise and the Communications and Multimedia Content Forum of Malaysia. In this study, in-depth interviews were conducted as a part of the qualitative method to get critical feedback on the holistic view of ASR. A total of nine informants representing three categories of senior industry insiders such as regulators, advertising practitioners and creative agency members were involved through in-depth interviews through the selection of purposive sampling method. The study has revealed many advertising practitioners have recognised their internal and external duties to guarantee a favourable image from the creative material they generated or authorised. Which have also reflected mostly positive outcomes through the concept of knowledge, relevancy, and acceptance of the code of practise.

Commodifying postsocialist cinema: filmmakers and the privatization of the Polish and Czech film industry after 1989

ABSTRACT The state’s efforts at privatization after the collapse of communist regimes in Eastern Europe often met with disapproval from cultural producers, who worried that their form of cultural production (often understood by them as “art” rather than “commodity”) required state patronage to survive. This paper examines the case of cinema in the Czech Republic and Poland. Using contemporary press sources, it traces how filmmakers responded to the new prominence of commercial cinema and their often-perceived loss of prestige and status of “autonomous artists”. Both the creative outputs and the discourse of filmmakers illustrate the changing values attached to the free market and to the purpose of cultural production in a market economy during transformation. Following a generational story, the paper establishes similarities between the discourse of different age groups of filmmakers in both countries; but at the same time, it accounts for the diverging acceptance of marketization by outlining country-specific differences: filmmakers searched for a language to critique or to affirm the transformation, their stance largely dependent on the extent to which they worked with inherited modes from the late socialist era, specific cultural traditions, and the financial conditions in which they operated.

The Life History of Juli Jones, Junior by William Foster

The Life History of Juli Jones, Junior by William Foster Allyson Nadia Field (bio) Imagine what new histories could emerge from a commitment to doing more with less. —Ashley D. Farmer (2018)1 By accident I reached Chicago. … What was I to do in this big Windy City? —William Foster writing as Juli Jones, Jr. (1910)2 William Foster is a frustrating figure for the film historian. One of the first African American film producers—quite possibly the first—Foster made short comedies and actualities in Chicago in the 1910s, including his celebrated one-reel farce The Railroad Porter (US, 1913). He was also a prolific author for newspapers and other publications, writing extensively about Black vaudeville and musical theater, the film industry, and opportunities for Black entrepreneurship, and serving as a highly respected authority on African American sports and entertainment in the early twentieth century. Yet Foster has eluded sustained engagement from historians and film scholars. A central reason for this is that, despite the volume of his writing, he elides details of his life, career, and creative output. And, as with many early African American filmmakers, none of Foster's films are known to survive.3 In my work, I've sought to find methodologies for writing with, rather than despite, such absences, turning them into generative sites from which to create film histories that aren't deterred by archival lacunae but find in them different forms of presence.4 If, in Michel-Rolph Trouillot's [End Page 82] terms, the archive's "silences" are functions of power, there's an imperative to accounting for what we cannot see, motivated as well by "the political and ethical demands of the present," requiring us to reorient ourselves towards the gaps and elisions of the archive.5 Yet, while Foster didn't leave extensive records of his filmmaking or details of his life and career that we know of, he did publish multiple autobiographical anecdotes and narratives. Many of these seem to be forms of satire, either of himself or of others. Foster also wrote two "memoirs": a 1910 "Life History" of his alter ego, the journalist Juli Jones, Jr., published in the Indianapolis Freeman, and a 1928 article consisting of his recollections of Black theater performers (but no discussion of his own life or work) that appeared in the inaugural (and only) issue of The Official Theatrical World of Colored Artists.6 Film historians, including me, have drawn from his journalism in discussions of his theatrical and filmmaking work, and the 1928 "memoirs" are regularly cited by scholars of Black musical theater, despite its omissions.7 However, the "Life History," a fictional memoir, has not been acknowledged or engaged with, likely because it is so clearly satiric fabulation with no evident correspondence with the actual events of Foster's life. It eschews the gravitas of the memoir form in favor of irreverent, even sarcastic, fantasy. How should we read it? What place does such a text have in works of history? Foster wrote "The Life History of Juli Jones, Junior" when he was about fifty years old and three years before he turned to filmmaking. I discuss it here not to dispel its self-mythologizing, or to provide a "true history" that refutes its stances, but to take the account seriously as an extant self-presentation of a figure whose absence looms over Black film historiography. The "Life History," as with Foster's persona and career, lends itself to speculative interpretation. The ephemeral traces of Foster's life and work are, in the aggregate, an indeterminate archive of an elusive figure. In embracing indeterminacy, José Esteban Muñoz finds value in "ephemeral evidence" rather than the "traditionally evidentiary."8 As he writes, speaking of queer lives in particular, "Ephemera includes traces of lived experience and performances of lived experience, maintaining experiential politics and urgencies long after these structures of feeling have been lived."9 In the case of Foster's fictive self-fashioning, his own performance of lived experience, publicly presented and widely circulated, constitutes autofiction—even autotheory—a fictocritical self-portrayal that itself is speculative and invites speculative engagement.10 This approach recognizes that Foster's self-satire...

Emotional Intelligence: Employee attitudes as a Mediation Role between Creativity and Emotional Intelligence

In spite of the fact that recent research has shown that emotional intelligence plays a significant role in the creative process, not much work has been done so far to verify this theory. As a result, the purpose of this study was to investigate the impact of emotional intelligence on the creation of and the mediating role of employee attitudes at selected private enterprises in the Kurdistan area of Iraq. For the purpose of evaluating this study, a quantitative research methodology was utilized. There was a random sample procedure used, and there were a total of 100 questionnaires sent; however, only 87 questionnaires were returned. In this study, employee attitude served as both a mediator and a dependent variable, while social awareness, self-management, relationship management, and self-awareness were employed as independent variables to examine the relationship between emotional intelligence and creative output. According to the findings, emotional intelligence has a direct and indirect influence, both of which are considerable and favorable for creative output in private companies. Also, the study's results suggested that future research should look into staff commitment and how engaged employees are.

Uticaj pandemije COVID 19 na poslovne procese u kreativnim industrijama - analiza slučaja Kulturnog centra Beograda

The Cultural Centre of Belgrade was created in 1957 as the focal point of cultural and artistic development of the then capital of Socialist Federative Republic of Yugosavia and an epicentre of contemplation of artistic foundations. Its original mision was the promotion of highest artistic and cultural values in Belgrade has changed over time as the very content of arts and culture have made a transition into the concept of creative industries. With the arrical of COVID19 pandemic into Serbia in 2019, a series of contra-epidemiologial measures have been implemented that have by their very nature either drastically reduced physical visits by people and/or have transformed the nature of human interaction. Given that the Cultural Centre of Belgrade has a unique programme concept and it is geographically located in the heart of Belgrade, the effects of the pandemic had a deep impact on the financial functioning and have thus affected the business processes in the system. A series and phased reengineering programmes have been implemented in the business processes, as they are the main pillar of the sustainability of creative functioning and output so that the Centre can continue to fulfill its mission in the post COVID environment. Their functioning remains to be closely monitored.

Quest for Identity and Cultural Reclamation and Realignment in Earl Lovelace’s Oeuvre

This paper is an attempt to conduct a cursory but critical investigation into Earl Lovelace’s oeuvre. Earl Lovelace’s impact in the Caribbean literary tradition cannot be overemphasized. His creative pieces reflects the motif of search for identity and self-reclamation. The cultural and traditional lives of the Caribbean people before the interaction with imperialistic power is emphasized in the creative outputs of Earl Lovelace. This paper analyses the literary deftness and creative imagination of the critically acclaimed writer from the Caribbean literary tradition. The Caribbean literary tradition is renowned for its reflection of the socio-cultural history and reality of the Caribbean people. The core of literary documentations from this region hinges on the perennial search for identity and grappling with the reality that the Caribbean history is all about. Earl Lovelace presents different facets of these thematic preoccupations through his oeuvre. The paper concludes that Earl Lovelace’s works amplifies his grasp of the quest for identity on which the Caribbean existence is premised. His works reflect the history, politics, culture, and tradition of the post-independence Caribbean milieu

Algorithms’ Influence on Human Artistic Creativity

In this doctoral research programme, I propose a set of three thematic research projects to investigate the influence of algorithmic curation on artists’ creative processes and viewers’ subsequent creative perception. In the context of the burgeoning “creator economy,” I first review evidence of algorithmic impact on creator’s outputs. Considering the role of process in creative output evaluation, I bring an embodied, situated perspective to online creativity. Based on these discussions, I propose three research streams: first, I tease apart the consid-eration of process from the consideration of embodiment, asking how each (process & embodiment) influence creative perception in the context of algo-rithm-made versus human-made art. In this workstream, I also consider the im-pact of the art viewer’s embodiment (physical versus digital). Next, I construct an algorithmically-curated website of visual images which controls information about the artist, their process, and their output, using the website as an experi-mental sandbox to interrogate the role of these variables in online creative per-ception. Finally, I supplement these findings through ethnography with artists and curators, examining the role of algorithmic considerations in their process. Simultaneously, I prompt artists to imagine the possibility of a co-designed algo-rithm that prioritizes creativity over existing metrics for engagement.

“A structure that other people are directing”: Doctoral Students’ Writing of Qualitative Theses in Education

Research suggests the teaching of the writing of doctoral thesis is decontextualised and that a traditional form, antithetical to a student’s paradigm or theory, has become canonized. Written to disrupt the traditional journal article form, this article explores the traditional form of theses through interviews with eight doctoral students in a School of Education. 5A’s creativity theory, where actors, audiences, actions, artifacts, and affordances combine to produce creative outputs, illuminates how students’ decisions are shaped by their apprehension of an academic audience as well as their own low positional identities as actors. A focus on contextualised teaching of writing of doctoral theses and further research into writing theses for different audiences are recommended.

Sztuka (nie)znanych kobiet. Scenografka Aniela Wojciechowska w świetle unikatowych źródeł ze zbiorów specjalnych Książnicy Pedagogicznej im. A. Parczewskiego w Kaliszu

Art of (un) famous women. Set designer Aniela Wojciechowska in the light of unique historic collection of the Alfons Parczewski Pedagogical Library in Kalisz The article is and attempt to get acquainted with the creative output of Aniela Wojciechowska, Polish set designer. Material traces related to Wojciechowska are kept, among others, in the special collections of the Alfons Parczewski Pedagogical Library in Kalisz. These materials, donated to the library by Fr. Andrzej Gładysz, became part of the legacy of the Wiłkomirski family collection. Aniela Wojciechowska was the daughter of Kazimierz Wiłkomirski (1900-1995), a world-famous musician, cellist, conductor, composer and teacher. Her work as a set designer remains mostly forgotten.