乐趣与挑战并行!——探访创意热店Can Create

Can Create隶属于IPG埃培智集团(包括McCann Worldgroup麦肯世界集团、LOWE、FCB、Weber Shandwick万博宣伟公关、Octagon八方环球体育营销等全球网络),2007年3月莅临中国。此举也标志着继W K、BBH之后,又一家国际顶尖广告创意公司落户中国。     

F1rank Lowe后遗症（三）

德拉诺个人认为IPG很有必要考虑联合灵狮。在八十年代，这个广告集团已经拥有两个传统的环球广告网络：麦肯和Lintas。德拉诺强烈建议IPG集团做些独特的事并在欧洲建立一个创意网络。当时的伦敦拥有世界上最具创意声誉的广告公司群，德拉诺先生对其中的Collett Dickenson Pearce发生了兴趣。     

创意角色向两性平衡发展

在创意行业,性别歧视问题是否很突出,这是否是影响女性创意人大展拳脚的绊脚石？包容与多元,IPG的远景广告传播是讲求日新月异的行业,作为领导的传播集团,IPG早已立誓要成为全球其中最多元化的机构,     

创意产业的本质属性探究——从创意产业与传统产业的比较分析看创意产业的特征

创意产业的发展迅速,使创意产业方面的研究成为理论界关注的热点。本文力求从传统产业与创意产业进行比较分析的角度入手,通过厘清创意产业与传统产业的差异,努力接近对创意产业概念上的认识距离。     

创意的价值

创意的价值在于解决问题 创建不是为创意而创意。 解决问题是创意的目标．有了目标的创意就像有的之矢．不会天马行空，南辕北辙，恍惚于世。坚持站在客户的立场，以客户的生意压力为压力解决客户的问题，又具备别人不具备的创意能力创造性地解决问题。这样的创意如果客户不认同，我们一定要争，据理为争，争到他心甘情愿或是拜拜再见。怕就怕咱们自己没有站好位，心中没有客户本位。为一己私利玩弄创意，为一己虚荣狂搞创作，再好的创意点子、创意形式，都属无当无用，只是自我意淫的上品，创意的垃圾。     

吴佳蓉CanonWu：CanCreate（IPG集团）首席创意执行官

1993年起在台湾奥美／运筹广告（I am David前身）担任创意总监;在奥美集团前后逾10年资历（台湾／上海）。2001年转战中国大陆,以丰富的华文广告创作经验,协助国际和国内品牌的企业形象及创意提升,2001年加入达彼思广告担任中国区创意群总监。     

创意产业的本质属性探究——从创意产业与传统产业的比较分析看创意产业的特征

创意产业的发展迅速,使创意产业方面的研究成为理论界关注的热点。本文力求从传统产业与创意产业进行比较分析的角度入手,通过厘清创意产业与传统产业的差异,努力接近对创意产业概念上的认识距离。     

时代的创意价值

时代在高速发展,许多事物也在不断改变。创意也是一样,随着时代的发展,创意的概念和内涵也在不断延伸,已经被赋予更广阔的思想内涵。     

创意消费中的产品创意传递模型分析

研究以创意体验价值为核心,通过建立和分析产品创意各维度与功能体验价值、享乐体验价值和社会体验价值以及行为意向变量之间关系的模型,通过500个样本的实证分析得到结论:产品的适宜性和新颖性对于提高体验价值具有不同作用,并通过不同的路径影响消费者意向。     

创意与创意脑研究

目前绝大部分对于创意这个领域的研究,多半是从广告的创意策略、广告创意设计等方面来探讨,鲜少从另一个看似陌生、但却息息相关的创意脑的层面,去探讨创意的起源与方法学.本论文将从这个领域去探究:在人脑的结构中,创意是怎么运作的?创意是怎么受阻的?如何在脑中排除创意受阻的因素,建立新的创意路径?本研究从脑结构与...     

The creative person

The deepest moral justification for a capitalist system is not solely that, poor system that it is, it serves liberty better than any other known system; not even that is raises up the living standards of the poor higher than any other system has; nor that it better improves the state of human health and the balance between humans and the environment that either real existing socialism or the traditional Third World society has. All these things, however difficult for one to admit, are empirically true. The true moral strength of capitalism, however, lies in its promotion of human creativity.New wealth can be created. Human beings themselves are the primary cause of the wealth of nations. Human creativity is nature's primary resource. Removing the institutional repression that now stifles that creativity is the large task ahead of us.Mr. Michael Novak holds the George Frederick Jewett chair in Religion and Public Policy at the American Enterprise Institute, Washington D.C. His studies in religion engage the questions of public life, political economy, education and self-knowledge. A prolific writer and commentator, he has authored scores of books and articles. He is a regular contributor to major national and international publications such as Forbes and the National Review. As Ambassador, Mr. Novak headed the U.S. Delegation to the United Nations Human Rights Commission (1981, 1982), and, Conference on Security and Cooperation in Europe (1986).     

The creative code

A study investigated the phenomenon, called the creative code, which is a collection of implicit theories about an advertising agency’s creative product that are held by people within a creative department. A foundation was built upon organisation-culture theory. Evidence in literature supported the conceptualisation of the construct. Personal interviews with creative personnel at a midwestern US advertising agency found evidence for a creative code and its components, sources, conditionality and consequences. The study implies that a creative code should be considered as an independent or dependent variable in research about advertising creativity. Client and agency managers and creative employees also may benefit from being more cognisant of the creative code that exists within agency organisations.     

Digital coupon promotion and platform selection in the presence of delivery effort

In recent years, physical retailers have started selling products to consumers through either third-party or self-operated online platforms. Doing so, they face demand which depends on digital coupon promotions, delivery effort by the platform (i.e., deliver products from retailers to consumers), and channel preference. In this paper, we develop a game-theoretic model to examine the interactions between the physical retailer's distribution channel choices and coupon promotions. In normal operation, retailers prefer to pay lower fees to the third-party platform, but we find, counterintuitively, that when carrying on a digital coupon promotion, the retailer can be better off paying a higher participation fee to the third-party platform. We also identify the conditions under which the retailer prefers the third-party platform over the self-operated platform with and without coupon promotions. Furthermore, we show that digital coupon promotions and delivery effort boost the retailer's profits by price discriminating among consumers with differing purchase utilities.     

The alert and creative entrepreneur: a clarification

Israel M. Kirzner is the 2006 winner of The International Award for Entrepreneurship and Small Business Research (the FSF-Nutek Award). In this Prize Lecture he argues that a number of those who have commented on his work have misunderstood certain aspects of his theoretical system, and as a result the common distinction in the literature between “Schumpeterian” and “Kirznerian” entrepreneurs is flawed. He also argues that his understanding of the market process (set in motion by entrepreneurial decisions) provides a theoretical underpinning for public policy vis-à-vis entrepreneurship. Professor Kirzner’s main contributions to the economics of entrepreneurship were also presented and evaluated by Douhan et al. [Small Business Economics 29(1–2):213–223, 2007].

Searching outside the box in creative problem solving: The role of creative thinking skills and domain knowledge

This study provides evidence for how factual (directly relevant for developing creative solutions) vs. range (indirectly relevant) information can be used to provoke idea generation and effective creative outcomes. Data were obtained from 127 staff, faculty, and students at a private Midwest university. The results show that the effect of type of information was moderated by the participant's creative thinking skill and domain knowledge. For individuals high in creative thinking skill, range information improved idea generation originality, which in turn enhanced creative outcome novelty but reduced outcome usefulness. Factual information, under various conditions, both helped and hindered creative outcome usefulness. Overall, presenting information during idea generation can improve creative outcome effectiveness. Managers should be careful to present the appropriate information at the appropriate time, however.     

The informative and persuasive components of pharmaceutical promotion

The objective of this paper is to review the literature on pharmaceutical promotion, highlighting the areas of contention. We examine the traditional methods used to promote pharmaceutical products and ask the question, ‘If the objective of promotion is to inform, persuade and remind the customer about why they should consider a particular product or brand, why is the promotion of pharmaceutical products so contentious?’ We draw upon the results of an exploratory case study that examined healthcare practitioner and pharmaceutical sales representative attitudes towards pharmaceutical promotion, and conclude with some thoughts on how information-based and persuasion-based pharmaceutical promotion can coexist.     

The governmental promotion of technological progress

Today technological progress is promoted by governments in numerous and diverse ways. What forms does this intervention take? Is governmental promotion of technological progress necessary? Is it even justifiable?     

The importance of creative match in television sponsorship

It is one of the accepted wisdoms of sponsorship literature that there should be a good fit between sponsor and sponsored. This paper reports an exploratory study into the way in which programme audiences respond to television sponsors’ credits and to the sponsorships they announce. The study used a purposive sample of young television viewers and focused on the programmes they like to watch. It was found that, although the viewers expected a fit between the programme and the product or its image, they would accept a sponsor that added to the entertainment value of the programme. Clever or funny creative treatments that match the programme content apparently make up for a lack of fit elsewhere.     

The ethics of creative accounting some Spanish evidence

Creative accounting involves accountants in making accounting policy choices or manipulating transactions in such a way as to convey a preferred and deliberately chosen impression in the accounts. Although it is regarded as unethical by most observers, a defense of creative accounting can be based on the assumption that users of accounts can identify bias in accounting policy choices and make appropriate adjustments. In this paper we take the example of the Barcelona Football Club where the club management made three key accounting policy choices that resulted in the presentation of a favourable position, and a supporters club presented an alternative report choosing three alternative accounting policies that presented an unfavourable position. We presented each of these financial reports to one of two groups of Spanish bank loan officers: we found that the more favourable set of accounts was significantly more likely to attract a positive response to a loan request. This result undermines the validity of defending creative accounting based on the argument that accounts users can identify manipulation.