Creative Professionals Research Articles

Роль стратегічного управління проектами в сфері культури в Україні під час війни

The article explains the role of strategic management of cultural projects in Ukraine during the martial law. In particular, the author summarizes the key problems of management in the domestic cultural sector, which are based on the outflow of talent, reduced funding and declining demand for cultural products and services. In this regard, strategic project management in the field of culture is becoming more important, as the conditions of constant underfunding, declining demand and the consequences of the war threaten the development of Ukrainian culture. Cultural project management requires a systematic approach to the planning, implementation and control of cultural initiatives and events, with a special emphasis on their creativity, specificity and sociocultural impact. Constant underfunding and the exacerbation of the consequences of the war highlight the need for strategic project management in the field of culture. Project management in times of war should take into account the creative nature of projects, their specificity and impact on the socio-cultural environment. War conditions pose serious challenges for the preservation of historical and cultural heritage and the promotion of cultural projects. Financial management becomes a key aspect, requiring the development of financing strategies, taking into account unstable conditions and mobilization of investments for the efficient use of resources. In the context of the military conflict, it is important to focus on marketing strategies to support Ukrainian culture, emphasize its uniqueness and stimulate patriotic sentiment. Resource management includes optimizing the use of human and material resources, as well as developing talent management systems to retain and attract creative professionals to the cultural sector. Strategic project management in the context of war implies innovative development aimed at creating new cultural products that meet modern challenges. At this point, it is important to develop a clear and distinct strategy for the country's cultural development, which should be formed through cooperation with key stakeholders in the cultural sphere. Each representative of the cultural environment should be familiarized with and agree with the priorities of cultural policy for its successful implementation and contribution to the achievement of global goals.

STRUCTURAL-SUBSTANTIVE MODEL OF FORMATION OF PEDAGOGICAL CREATIVITY OF FUTURE TEACHERS OF COMPUTER SCIENCE

Socio-economic development in society reflects the high demand for a creative person who can successfully solve problems and change their behavior. Modern conditions increase the need for active, business-minded, creative professionals who are able to move forward and solve various problems on their own in non-standard situations. To be confident in the face of constant change, a future computer science teacher must activate his or her creativity and help students discover their potential and focus on solving the problem. The social demand for education is determined by the needs of the state, society and social groups. In this regard, the social order for creative people capable of creativity, striving for innovation and scientific achievements, non-standard, original thinking makes the issue of formation of pedagogical creativity of future computer science teachers relevant. The purpose of the structural and content model of the formation of pedagogical creativity of future teachers of computer science is to form their ability to pedagogical creativity: the student's understanding of the meaning and content of pedagogical creativity; aspiration of the student to the formation of pedagogical creativity. Creativity and innovation are an integral part of the learning process and the basis of all disciplines. They are an important aspect of how to teach in the process. In addition, creativity and innovation are crucial for teachers who are improving their professional skills. In terms of creativity, teachers play an important and key role in universities, as they provide organizational support for innovation and creativity in the teaching process. The high level of creativity of teachers contributes to the development of students - to increase their competence and demand in the labor market. However, if there is a big difference between the high level of creativity of the teacher and the low level of perception of students, the high creativity of the teacher has a negative impact. In addition, factors that may have a negative impact are: irrationalism on one or both sides; lack of constructivism, low level of communication skills of the teacher; lack of feedback in the learning process, etc. The considered world trends in the development of education are general. In addition, there are new trends in the development of different types and levels of education, depending on their goals, characteristics, the nature of implementation and the new social requirements for the level of training of relevant graduates.

“The Truthfulness Lies in the Process, Not the Outcome” Using Artistic Practices to Further Truth-Telling and Memorialization in the Philippines

The Philippines have never known a unified state-sanctioned narrative about the violence that happened during the Marcos dictatorship. In order to resist ongoing disinformation campaigns that seek to erase evidence and memories of past violence, various institutional and civil society actors are currently initiating interventions in the domain of truth and memorialization. Notably, artists, curators, and creative professionals are engaging in various kinds of so-called ‘narrative documentation’ and ‘narrative change-making’. Several of these initiatives mobilize spatial dynamics and co-created processes to facilitate more complex forms of truth-telling and memorialization, which foreground complexity and ambiguity, and which prompt more engaged forms of truth-listening. This article zooms in on a specific project that mobilizes traditional artisan and artistic techniques and forms to revisit women’s experiences of historical and ongoing violence by crafting layered and ambiguous narratives about harm. In doing so, the Weaving Women’s Words on Wounds of War project seeks to further memorialization, truth-telling, and truth-listening about gendered violence. Through an analysis embedded in scholarship on memory, truth, and artistic practice, I argue that it is the generation of ambiguous and complex narratives that invites an active and relational type of engagement and listening. This holds potential for resisting the erasure of complex forms of violence, both in the context of the Philippines, as well as in other contexts where truth or memorialization initiatives may be incapable of capturing the gravity of lived experiences of violence or of facilitating genuine listening.

Do unique names fit people for creative work? Implications for job recruitment, name change, and product evaluation

AbstractUnique names have commonly been viewed as undesirable. However, our studies (total N = 6049) suggest the opposite: unique names are perceived as favourable to creativity in occupational contexts. Generally, people held a perception that unique‐named individuals are more creative (albeit less likable) and therefore more suitable for jobs requiring greater creativity (Studies 1–2). Accordingly, participants tended to select candidates with more unique names for creative positions (Study 3) and recommend more unique names to workers in creative jobs for a name change (Study 4). Furthermore, real‐world archival data revealed that artists (typical creative professions) tended to adopt more unique new names, which was replicated cross‐culturally in American, British, and Chinese samples (Study 5), and that Chinese movie directors with more unique names received higher evaluations for the movies they directed (Study 6). Our findings demonstrate a novel form of name stereotype and its behavioural manifestations and real‐world consequences.

An Examination of Alcohol Use Disorder Among the Characters of Patricia Highsmith

Alcohol Use Disorder (AUD) is a chronic disease with specific traits that connect to behavior, psychology, and physiology. This disease is especially prevalent among those within creative professions, which prompted further study into the effects of AUD on an alcoholic’s creative work. An examination of the incorporation of AUD within a female alcoholic author's work, particularly through the lens of Patricia Highsmith’s fictional characters, to cope with behaviors associated with AUD has yet to be accomplished, leading to this study’s purpose. A content analysis was conducted utilizing four indicating behaviors of AUD–codependency, neuroticism, binge drinking, and alcoholic terminology usage–that served as coding categories for 30 short stories analyzed. Data analysis showed that AUD was noticeably projected onto the fictional characters of Patricia Highsmith, with a total of 270 indicators identified. Implicit indicators–codependency and neuroticism–were projected within general written situations, and explicit indicators–binge drinking and alcoholic terminology usage–were projected within written situations that naturally trigger alcoholic behavior. Thus, it was suggested that AUD was projected onto the fictional characters of Patricia Highsmith in varying ways so as to cope with her alcoholic tendencies.

Is AI Going to Replace Creative Professionals?

Spoiler alert: The answer is no, but getting to why is a trip through the nature of human creativity itself.

Wizytówka Messnera

Reinhold Messner has said frequently that in the fi rst period of his activity in the mountains his climbing partners were often local farmers from the Valley of Funes in South Tyrol. The entire region of the Alps is inhabited by traditional peasant communities. Despite civilisational transformations we can still encounter there farms and their residents who like to climb the mountains for pleasure. Yet the Golden Age of mountaineering in the mid-19th century was dominated by an elite of British climbers with aristocratic, scholarly and cultural backgrounds. They were guided by highlanders from the foot of the Alps.
 However, as early as in the 1950s and 1960s British mountaineering became the domain of the working class as well, thanks to Don Whillans. Among the modern climbers from Western Europe and the United States there are many workers, manual labourers, people with no higher education. On the other hand in Poland mountaineering was from the beginning an elite activity and has remained so to this day. Climbing has attracted and still attracts engineers, academics, creative professionals, doctors and artists. Among Polish climbers there have not been and there are no farmers, workers, uneducated people or those doing manual labour. The exception is mountain guides and rescuers, but they climb professionally, so to speak, and not con amore.
 Why is that? Why do Polish highlanders — with few exceptions — not climb? Why has this been the case for nearly two hundred years? And what is surprising about Reinhold Messner’s visiting card which he gave Jerzy Kukuczka?

Seeing things the same way: perspectives and lessons learned from research-design collaborations.

Information visualizations are increasingly being developed by informatics researchers to communicate health information to lay audiences. For high-quality results, it is advisable to collaborate with creative professionals such as graphic designers, illustrators, or user interface/user experience designers. However, such collaborations are often a novel experience for both parties, each of which may be unfamiliar with the needs and processes of the other. We have coalesced our experiences from both the research and design perspectives to offer practical guidance in hopes of promoting the success of future collaborations. We offer suggestions for determining design needs, communicating with design professionals, and carrying out the design process. We assert that successful collaborations are predicated on careful and intentional planning at the outset of a project, a thorough understanding of each party's scope expertise, clear communication, and ample time for the design process to unfold.

New Zealand’s creative economy: in search of research

The activity of researching is a customary part of creative work, often for understanding the wider territory of an assignment, resolving issues of production, or optimising creative outcomes. Creatives do not always appreciate or even recognise the commercial value of their research, i.e. in the form of novel processes, unique applications of technology, or ground-breaking creative solutions. A mixed-model study into on-the-job research practices in New Zealand’s creative industries evidenced a profound disconnection between research input in creative labour and output of economically deployable innovation. It was observed that although many originations effectively resulted from creative research practice, these were not normally leveraged beyond the immediate task. Against the backdrop of New Zealand’s aspiration to become a leading innovation economy, the article proposes the development of a knowledge-sharing innovation ecosystem that absorbs the manifold casual research outcomes from creative production work and develops pathways for New Zealand’s creative professionals to convert imaginative specialist solutions into sustainable innovation capital.

Relationship between Sustainable Human Resources Management and Employee Engagement in Creative Professions on the Example of Architects

There is a research gap in studies on the impact of sustainable human resource management on creative industries employee engagement. The purpose of this study was to investigate the impact of sustainable human resource management (HRM) on creative industries employee engagement using the professional group of architects as an example. The objective of this research was to examine how sustainable human resource management affects employee engagement in creative industries, focusing on architects as a representative professional group. The study provided valuable insights that can orient future research efforts and inform practical implications in the field of sustainable HRM. The quantitative study of 345 architects was conducted to test the relationship between the application of sustainable HRM practices in the workplace and the professional engagement perceived by employees. The research carried out confirms the validity of verifying the relationship between the variables studied. The study reveals that sustainable HRM practices, such as promoting ethical behaviour and diversity, offering work flexibility, providing fair remuneration practices and supporting pro-environmental attitudes, have a positive impact on work engagement among architects and that it is beneficial to develop these attitudes in a conscious manner in order to obtain better results and higher job satisfaction among employees in the creative industries.

ПРЕДСТАВЛЕНИЯ ХУДОЖНИКОВ О ПСИХОЛОГИЧЕСКОМ БЛАГОПОЛУЧИИ

The purpose of the study is to identify and describe the sense-groups of artists' views of psychological well-being. Psychological well-being is considered as a multicomponent concept, including cognitive, emotional and behavioral components. 55 artists aged between 19 and 60 took part in the survey. A structured interview about psychological well-being was conducted. Data processing was carried out by means of content analysis. Eight sense-groups related to artists' perceptions of psychological well-being were identified: relationships with others, calm, harmony, mindfulness, satisfaction, mental and physical health and financial well-being. The sense-groups of artists' representations show that the emotional component predominates over the cognitive and behavioral components. However, members of the creative professions find it difficult to manage and regulate their emotional state. Their high sensitivity could be a possible reason. In order to find a foothold in life, they resort to the support of their immediate environment and the establishment of a dialogue with their target audience. Meaningfulness becomes a source of understanding themselves, their thoughts and motives. They become responsible not only for themselves and their lives, but also for the cultural products they create. Presenting their work, where quality prevails over quantity, is part of their self-presentation and self-expression. The study results focus on artists' everyday perceptions of psychological well-being and can be used by psychologists and teachers at secondary and higher education institutions who interact both with students and creative professionals to develop preventive programs aimed at improving the well-being and quality of life of artists.

Family Practices In The Construction Of Creative Professionals. A Biographical Perspective

The aim of this paper is to analyse the relationships between family configurations and creative occupations. For this purpose, a biographical perspective was taken through the reconstruction of the life histories of sixteen creative professionals in Spain. We have followed two lines of approach, namely Florida’s classification of occupations (2002), which distinguishes between a creative class and a super-creative core, and Lahire’s conception of family configuration (1995). The main results reveal the importance of practices that are carried out on a daily basis by the family network (both internally and externally): reading and writing, cultural consumption (theatre, music, exhibitions, etc.), types of leisure (travelling) and forms of authority that lead the way to self-control and domestic family order. We have shown with this study the importance of the transmission of family culture in the construction of people who have creative occupations and the relationship that exists between the family educational capital and the educational level attained by the offspring.

Building arts education policy using the tools of out-of-school time youth arts organizations

With the rise of COVID-19 and growing awareness of racial injustice, the last few years have been exceptionally tumultuous for our systems of education and their stakeholders. But scholars critical of traditional paradigms of schooling and accountability have argued that these crises kindle opportunities for profound change. Gloria Ladson-Billings, who has long argued for an approach to education that embraces cultural and epistemological diversity, has called for a “hard re-set” in education and has urged stakeholders to fundamentally reconsider the kind of human beings we want to nurture. With a reset in mind, we have turned our attention to studying out-of-school-time (OST) arts learning environments. The arts—dance, theater, music, the visual arts, and the digital and design arts—offer us a way to reimagine what good learning and teaching look like and how to design learning environments that work for all young people, and perhaps particularly for our most vulnerable youth. In this article, we draw on findings from our national critical qualitative study of out-of-school time community youth arts organizations. We offer policy recommendations for arts education and school improvement in four major categories: (1) Focus on youth and community assets; (2) Expand beyond a program-centric model of funding and design; (3) Support creative professionals; (4) Rethink the design and implementation of assessment systems. Within each category, we make recommendations specific to the various stakeholders who affect arts education policy—arts education leadership, funders and policy makers, and researchers.

Non–fungible tokens in the structure of Islamic financingl markets

The widespread use of innovative technologies in the Arab countries began relatively recently; the COVID–19 pandemic became a powerful impetus to their promotion. However, the crises experienced by global financial markets have forced investors to look for more «safe havens» for their investments. In this regard, the development of the (non–fungible tokens, hereinafter — NFT) in the last two years has become a relatively safe place to invest.NFT technologies were originally designed for the world of art, artists, clip makers, people of creative professions and admirers of their creations, but NFT went further and began to become popular in the world of finance becoming one of the instruments for making transactions.The Arab countries did not stand aside from such innovations actively participating in the development, testing and search for new innovative areas of NFT application. However, you should not forget about the strict rules of Sharia which apply to all types of financial activities. The necessary interconnection and problem points are yet to be analyzed by experts in the future as the market develops but at the same time it is already worth talking about the rapid introduction of NFTs into Islamic finance.

Harmonious relations: quality transmission among composers in the very long run

Abstract Most creative professionals develop and refine their talents by learning from others. In most empirical settings, estimating how this learning process fosters quality is challenging. This paper explores the transmission of quality among music composers over more than seven centuries. How does a composer’s quality influence the quality of the composers they teach? Using a unique dataset of 17,433 composers, we show a strong relationship between student and teacher quality. Moreover, this quality transmission persists across multiple generations. Our results provide new insights on drivers of creativity, as well as the influence of teachers on students’ achievements.

Racial Capitalism Online: Navigating Race Among Creative Professionals of Color

Racial capitalism, which describes how people in power extract value from the racial identity of others, has been a constant driver in the creative industries. As social media becomes the widespread avenue for sharing creative works and building professional reputation, the effects of racial capitalism become further amplified online. In fact, many creative professionals of color find that the biases they face offline are only replicated, and sometimes magnified, on digital platforms. In this study, we interview creative professionals of color who heavily rely on digital platforms to promote their work in order to understand how racial capitalism shapes their experience and performance of race online. Creative professionals describe seeing their work appropriated and shared for little to no recognition, while at the same time, feeling pressured to present themselves in a palatable way in order to meet the expectations of a dominant consumer audience. Creatives also worked within these capitalistic expectations by building communities with similar others in order to exchange advice, serve as role models, and share resources. Our data uncover how expectations on social media, fueled by racial biases, burden creative professionals of color, thus informing alternative futures that could compensate their work more equitably and build more inclusive spaces for creative professional growth.

Mat Kilau Kebangkitan Pahlawan: A Cognitive Study Through Freytag’s Drama Structure

The popularity of film storylines that glorify heroes fighting for their nation has spread throughout Malaysia. This advancement has increased the income of the country's creative industry while also improving the talents of creative professionals. Due to the high level of competition, special effects, shooting techniques, and even storytelling processing are the primary factors employed in enhancing a film's success. Using Freytag's Pyramid, the film Mat Kilau is a case study to identify students' knowledge of the film's narrative and camera skills and techniques. Open-ended questionnaires were delivered to 37 students in free-form written responses to obtain a wealth of information about how the respondents think and relate to what they have learnt over the semester. The content analysis measures how often certain words, subjects, and ideas appear in a text. The approach turns qualitative input into quantitative data to draw accurate conclusions about what people thought of the movie. In this study, the data suggest that students pay more attention to sequences with many sound effects, different forms of camera tracking, and rapid shot changes. The selection of students who felt the best scene served as the film's Climax is observed.

Women in media: ‘Planting and watering the seeds for change’: A conversation with Domizia De Rosa

Domizia De Rosa joined the Warner Bros. group in 1995 and was promoted to executive director at Warner Bros. International Television Italia Srl. in 2014. The president of Women in Film, Television and Media Italy (WIFTMI) since 2021, De Rosa is committed to promoting gender equality in the Italian audio-visual and media sectors. In this interview, she talks about her career as a woman in a position of authority in the media industry and how she gradually rose through the ranks to become an executive director of the Warner Bros. Entertainment Italia group. She also explains the reasons for the asymmetrical presence of women in television, illustrates the goals of the Code of Ethical Conduct for the Audio-Visual Sector that was established in 2021 and discusses the value of ‘creative intimacy’ as the synthesis of personal experiences precious to building a community of creative professionals.

Responsive Portfolio Website

A portfolio website is a crucial platform for creative professionals to display their work, skills, and achievements. This research paper aims to provide a comprehensive guide to the design and development of portfolio websites, including their purpose, essential features, and best practices. The study is based on a literature review and case studies of successful portfolio websites. The paper highlights the role of HTML, CSS, and JavaScript in building portfolio websites and emphasizes the significance of responsive design and user experience. The findings and analysis provide insights and recommendations for designers and developers looking to create an effective portfolio website that showcases their work and skills. Key Words: responsive, HTML, CSS, JavaScript, portfolio

We Are Displaced, But We Are More Than That: Using Anarchist Principles to Materialize Capitalism’s Cracks at Sites of Contemporary Forced Displacement in Europe

This article charts the development of The Made in Migration Collective, a coalition of displaced people, academics, and creative professionals that was developed during a recently completed British Academy postdoctoral fellowship. Following discussion of how archaeology and heritage are under attack globally from far-right nationalism and specifically within the UK, I provide examples of how community archaeology can highlight fissures in capitalism. I follow others in interpreting anarchism as a potential form of care. Two public heritage exhibitions – one digital, one “live”—which were collaboratively produced by The Made in Migration Collective are reflected upon.