创意产业链与创意产业集群

创意产业链强调以创意为龙头,以内容为核心,驱动产品的制造,拉动批发和营销。带动后续产品开发,形成上下联动、左右衔接、一次投入、多次产出的链条．其关键战略环节包括内容、渠道、媒体、需求;创意产业集群指创意产业在地域上的集中,它使创意产品的创造、生产、分销和利用得到最优化,并能够显著提升创意产业的竞争力。     

没有创意就去死？

我们正在步入一个需要创意的年代。在这个年代,产品需要创意、营销需要创意、管理需要创意……总之,如果你不想淹没在平庸的海洋里,就必须不断有创意。难怪一位广告人几年前就高喊着:没有好的创意就去死吧!     

基于航天元素的文化创意产品设计的应用研究

<正>近年来,我国积极推动文化创意产业发展,高质量文化创意产品层出不穷。但是,由于航天元素具有专业性和保密性等特点,基于航天元素的文化创意产品未能很好的开发,产品质量和特点都有待进一步挖掘。本文在调研分析美国国家航空航天局（NASA）和中国故宫博物院文化创意产品开发现状的基础上,基于我国航天文化创意产品的发展情况,进行了航天元素文化创意产品的设计与应用研究,提出了航天领域内文化创意产品的设计思路和应用方向。     

纺织服装“零成本”创意在柯桥

日前,记者从中国轻纺城纺织创意产业服务中心获悉,在柯桥中国轻纺城家纺服饰市场内建设的占地2000平方米。一期拥有四十套工位的零成本创意工作室目前正在装修及相关设备购置中。据该中心主任、绍兴县科技局局长娄刚强介绍,此工作室主要面向纺织服装类高等院校毕业生及专业人才,帮助他们实现创意创业梦想而免费提供的,包括场地及电脑、办公桌等基本办公用品,打造零成本创意工作室,培育和引聚纺织创意人才,推动中国轻纺城纺织创意产业基地建设。     

2009“Reach & Touch时尚创意空间” 行走于创意的来龙与去脉之间

优秀的创意大多有着明确的来龙去脉。来龙,即激发设计灵感迸发的现实源泉;去脉,是指创意应有着相对准确的消费者指向,明确该创意所吸引的人群身在何处、心向何处。在这一过程之中,一个原本蒙昧的创意会依照消费者的需要不断被调整、完善、丰满,最终出落成能在市场中谋得一席之地的创意产品。     

现代家居空间中的创意软装饰设计

软装饰品在家居空间环境设计中扮演着非常重要的角色,它是对室内空间的二次创造。家居软装饰设计中,创意无处不在。本文以创意为切入点,以家居软装饰品为研究对象,分析创意软装饰设计的原理和设计方法,为家居创意软装饰设计产品的发展提供一些理论依据。     

产业集群家族又添“创意”新成员

创意,不仅涵盖影视、电脑、广告、多媒体制作等多个领域,同时,在服装和面料的设计和销售方面也有着广泛的应用。随着中国纺织业发展进入品牌转型和提升的关键阶段,"时尚"与"创意"的有机结合,对中国纺织业的下一步发展将起到越来越重要的作用。本文作者从产业集群的新角度,对创意产业集群的形成和发展作了论述。这些观点,对于必将迈上创意之路的中国纺织行业,有着积极的借鉴意义。     

创意提升面料价值

今年以来，中国纺织服装行业的发展面临诸多困难，依靠提高科技贡献率和品牌贡献率，加快推动产业发展方式的转变，加快产业升级和结构调整成为当务之急，而创意不仅是科技进步的先导，而且是品牌建设的先导。由中国纺织工业协会主办的“时尚创意空间”今年梅开二度，定于10月19日～21日在上海举办。该活动自去年首次举办以来，就紧扣“以创意整合为表征的集成创新来提升产品附加值”这一主旨，敏锐捕捉中国纺织行业从过去单一的产品层面创新向产业链的集成创新转变这一大趋势，因而深受广大参展企业与专业观众的欢迎与好评。     

创意经济与产业发展

英国人菲利浦·多德在《创意经济引领未来中国》一文中说:“忘掉在胸罩与纺织品上的争吵吧,中国与欧洲的下一场贸易争端很可能发生在文化创意产品上。”也就是说,创意经济将成为未来经济竞争的主战场。先看一组数据:根据经合组织的统计,服务业比制造业的发展速度高出一倍,而创意产业比服务业的发展速度高出三倍;全世界创意经济每天创造220亿美元,并以5%的速度递增;以英国时尚业为例,英国的时尚设计产业每年的产值达到81亿英镑,出口创汇额高达4亿英镑,伦敦拥有全国85%以上的时尚设计师。从以上可见,“创意时代已经到来”,创意产业已经形成了…     

中国文化创意产品出口战略研究

基于整体国家发展战略、文化创意产业所处的发展阶段、目标市场状况以及意识形态等因素,中国在文化创意产品出口战略上宜选取一条“中间道路”：既要坚持适度的“文化例外”实施一定程度的政府保护,又要采取逐步放开文化创意产品市场、鼓励竞争等手段,使国际化形式与中国化内容有机结合,挖掘出中国文化的普适性价值,降低文化创意产品出口过程中的文化折扣,尽快打开国外市场。     

A revolution in creative thinking

It is usually held that creative thinking is carried out by way of intuition, whose largely uncontrollable and unpredictable nature leads to the assumption that it is essentially not a logical process. A framework is presented which challenges this view, analysing creative thinking as the outcome of ten logical phases. By examining the logical operation of each phase and formalizing their logical relations, adequate heuristic programmes can be devised which, if supplemented with suitable mathematical models, open the way to simulating logical phases of creative thinking on the computer. An understanding of the logical laws of creative thinking has the potential to create a revolution in human thought, with far-reaching consequences for productive activity, and hence for the nature of society.     

Assessing creative thinking in design-based learning

Infusing creative thinking competence through the design process of authentic projects requires not only changing the teaching methods and learning environment, but also adopting new assessment methods, such as portfolio assessment. The participants in this study were 128 high school pupils who have studied MECHATRONICS from 10th to 12th grades (16–18 years old). By the end of 12th grade, the pupils had created 57 authentic projects. The intervention program had two parts: first, the pupils documented their project according to a creative design process that had been introduced to them. Second, the projects were assessed according to a creative thinking scale. This scale was designed to assist pupils in documenting the design process. It could be used as a guideline for teachers and pupils during the course of the project. The research examined pupils’ performance during project-based learning. The research tools included: observations of class activities, portfolio assessment, and external matriculation assessment. The findings show first that pupils learned to document their design process. Second, pupils’ projects demonstrated various levels of creative thinking skill. Evidences for high-level documentation of the projects were found in pupils’ portfolios. On the other hand, there is much to be learned about documenting teamwork and pupils’ reflection. This research could assist researchers and teachers who are interested in assessing engineering education outcomes.     

The design and development of creative instructional materials: the role of domain familiarity for creative solutions

The design and development processes of instructional materials might be considered simple and clear because the pre-established instructional goals can lead the way. However, in practice, there are lots of issues to be considered during these processes. The quality of the material, appropriate visual design, usability, and acceptable amount of cognitive load are some of these issues. On the other hand, an instructional material needs to be as original as possible. In this study, we focused on the creativity of the instructional materials designed and developed by second year students from the Computer Education and Instructional Technologies (CEIT) department. We divided students into two groups: (1) CEIT students designing and developing materials about Information Technology (IT); (2) CEIT students designing and developing materials about Math. The main aim of this study is to understand how CEIT students’ instructional materials differ when they design and develop materials, which are out of their field of experience. In other words, we tried to compare how the creativity of materials change when students create materials with familiar domain (IT) in comparison to unfamiliar domain (Math). Students worked on ten instructional materials such as digital story, animation, and worksheet for 14 weeks. The materials of students were evaluated in terms of creativity, and then they were interviewed. The students worked in groups of 4–5, and during the material development period, we as researchers observed and took notes about the whole process. The findings indicated that materials developed in familiar domain were higher in creativity than those of the unfamiliar. Students’ explanations of creativity and their evaluations about the process helped us to understand the reasons of the produced materials’ creativeness. Technical skills, authentic contributions, material type, and the boundaries of the content or familiarity were found as the primary factors affecting the design and development of creative instructional materials.     

从“制造之都”迈向“创意之都” 扬州毛绒玩具要走文化创意型产业道路

自2006年,扬州市维扬区获得中国轻工业联合会、中国礼仪用品工业协会共同颁发的＂中国毛绒玩具礼品之都＂称号,扬州已分别以＂行业品牌、人才设计、动漫研发、文化创意＂主题,成功举办了四届毛绒玩具节,为海内外客商和玩具礼品业界人士提供交流合作的平台,广泛开展产品展览、贸易洽谈、投资合作等活动,同时依托扬州市文化创意产业园,整合创意资源,彰显产业特色,把维扬加速打造成为创意产业新高地,推动玩具礼品产业的创新、提升和发展。     

创意“给力”玩具——2011年创意玩具产业展望

当下的玩具产业竞争已逐渐达到了白热化的程度，众多品牌均在寻求差异化的竞争路线，有些瞄准高端市场，有些坚持传统路线，有些潜心独辟蹊径，有些主打面向大众………曾经是孩子童年中最好伙伴的玩具，如今的发展早已突破了儿童的界限，在成年人中形成了一种新的潮流。从特征上分析，玩具已成为了创意产业的一个重要组成部分。     

创新发展 建塑学习型企业

随着市场经济对企业创新的要求与日俱增,建立学习型企业已成为管理界和企业界的共识。党的十六大把“形成全民学习,终身学习的学习型社会,促进人的全面发展”作为全面建设小康社会的目标之一。作为国有大型企业,无论是贯彻落实十     

Contestability and creative destruction: Two approaches to monopoly

The theory of contestability ’attempts to base a model of economic efficiency on oligopolistic markets, thereby justifying adoption of laissez-faire policies in the absence of atomistic competition. The analysis is similar to Schumpeter’s condemnation of government intervention in the theory of creative destruction: both theories claim that superior economic performance is associated with concentrated rather than competitive market structures. Yet in many respects the contestability analysis is less convincing than Schumpeter’s. Whereas Schumpeter admitted the existence of short rum profits and restrictive strategies, arguing that these inefficiencies, are outweighed in the long run, the theory of contestable markets is based on short run efficiency and cannot accommodate evidence of excess profits nor many of the existing models of oligopolistic strategies, including collusion and predatory pricing. Furthermore, the theory lacks a logical explanation of investment, by entrants and convincing empirical support for its claim that concentrated markets maximize consumer welfare.     

玩具产业中的创意知识产权管理

长期以来，人们习惯于对资产和资金进行管理规划，却往往忽视了对于知识产权这种无形资产的协调管理。朱雪忠教授在其主编的《知识产权管理》一书中提出，知识产权管理是指政府机构、高校、科研院所、企业或者其他组织等主体计划、组织、协调和控制知识产权相关工作．并使其发展符合组织目标的过程，是协调知识产权实务的宏观调控和微观操作活动的总和。     

开拓创新不断加强技术监督工作

中国水利水电科学研究院经过40多年的发展，已成为专业门类齐全、人才结构合理的国家级水利水电研究和开发中心。作为我国水利水电方面的权威研究机构，在我国社会经济建设的不同历史时期发挥了不可替代的重要作用。中国水科院依据国家需求和科学技术的发展变化，不断调整和加强学科建设，已形成的主要专业覆盖了水利水电领域及火、核电站的冷却水工程等方面。     

专访上海傲旗工业设计有限公司总经理曹冠晖（2）：创新的设计理念来源于对市场的专注与专业

上一期,童车玩具设计专家曹冠晖总经理为我们分享了傲旗作为一个专业、专注且成功的童车玩具设计团队在整合设计资源、把控制造工艺、产品市场前景等方面的经验。此次曹冠晖将介绍企业文化、用人之道、成本控制。