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Comment by Paris En mémoire on February 5, 2024 at 2:01pm

21. “Draw the art you want to see, start the business you want to run, play the music you want to hear, write the books you want to read, build the products you want to use – do the work you want to see done.” – Austin Kleon

When in doubt, create what you’d like!

We can get so caught up trying to create for an audience or a client that we neglect to create for ourselves.

The most impactful and beautiful creations come from artists and designers who personally love what they are creating.

22. “Creativity is a wild mind and a disciplined eye.” – Dorothy Parker

This quote speaks to the balance that’s necessary for any creative project.

Yes, it requires freedom, letting go, letting your imagination run wild, and all the rest. But it also requires a refined eye that knows how to pull everything together in an aesthetically pleasing way that makes it enjoyable for a viewer to experience.

23. "Creativity doesn't wait for that perfect moment. It fashions its own perfect moments out of ordinary ones." – Bruce Garrabrandt

Bruce Garrabrandt, a self-taught artist, emphasizes the active nature of creativity with this quote. He believes that creativity does not depend on waiting for the perfect moment but making the most out of the ordinary ones.

As an artist who began with no inherent talent for drawing, Garrabrandt's perspective on creativity is rooted in his own journey of learning skills, overcoming frustrations and setbacks, and eventually becoming a professional artist.

He encourages the development of individual gifts into talents and abilities, fostering creativity.

24. "You can't wait for inspiration, you have to go after it with a club." – Jack London

This quote is from a 1905 essay by Jack London titled "Getting Into Print." London was a prolific writer who depended on his literary skills for his livelihood. He encouraged other writers to proactively seek inspiration rather than waiting for it to come to them.

He saw the writing process as requiring discipline, persistence, and the willingness to learn from others.

25. "If you want creative workers, give them enough time to play." – John Cleese

John Cleese is an English actor, comedian, and writer. Cleese is known for his comedic work in Monty Python's Flying Circus and Fawlty Towers, and he has often spoken about the importance of creativity, play, and humor.

26. "Serious design, serious play, is something else. For one thing, it often happens spontaneously, intuitively, accidentally or incidentally." – Paula Scher

In her 2008 TED talk, Great Design is Serious, Not Solemn, designer Paula Scher describes the difference between serious and solemn design. Scher is most famous for the album covers she created at CBS records, and the large text-based designs she created in the span of her accoladed career.

Seriousness is a laser focus on the task at hand, and a full immersion in the creative process. Solemn design, on the other hand, is focused on perfection and quality.
There's still a place for solemn design. But to be truly innovative and produce something new, you need to be creatively at play.

It's this creative energy that has led to some of the most surprising, delightful, and effective designs of all time.

Comment by Paris En mémoire on February 4, 2024 at 1:25pm

27. "My contention is that creativity now is as important in education as literacy, and we should treat it with the same status." – Sir Ken Robinson

We now know creativity is serious. And we understand that it's a form of play. But do we consider it to be as crucial in society as academic literacy?

Sir Ken Robinson is an educator and author of Creativity in Schools (2015) and other books on creativity and education. He argues that schools are killing creativity through merit-based education and "teaching to the tests."

It's this approach to education that has led to most people missing an essential aspect of everyday life: critical thinking.

When we learn to practice critical thinking skills, creativity becomes a natural extension of our lives.

28. "Belief in your creative capacity lies at the heart of innovation." – Tom and David Kelley

The brothers Tom and David Kelley are thought leaders in the design space. Together, they authored Creative Confidence (2014). David is the Founder of Stanford University's d.school, a multi-disciplinary school focused on innovation to solve real-world problems.

Building your creative confidence means regaining the enthusiasm and courage to go out of your comfort zone.

Many business leaders and "non-creative" roles at companies think of themselves as unartistic, and wouldn't place themselves in situations where they don't know how to perform the task at hand.

But allowing yourself to act creatively, and make mistakes, is essential for your personal and professional growth. And you may even discover a new passion and career path.

Related:

遊學·把自我故事說好的快意

《藝頻道》電影達人

LITERATURE: The Great Story Continues

ARCH: The Friendship Glows

PARK: The Cultural & Creative Hub

Comment by Paris En mémoire on February 4, 2024 at 1:25pm

29. "Creativity is piercing the mundane to find the marvelous." – Bill Moyers

Bill Moyers is an American journalist and political commentator, and former White House Press Secretary. He's been involved in public broadcasting for many years, producing documentaries and news journal programs.

Moyers' quote emphasizes the idea that creativity is about finding the extraordinary within the ordinary. This perspective encourages us to look at the world with a fresh perspective and to find inspiration in everyday life.

30. "True happiness comes from the joy of deeds well done, the zest of creating things new." – Antoine de Saint-Exupery

Antoine de Saint-Exupery was a French writer and aviator, best known for his novella, The Little Prince (1943).

This quote reflects his view that happiness isn't derived from the result of our actions, but from the process of creation itself. His idea of creation isn't limited to the arts, but extends to all kinds of human endeavors where something new is brought into existence.

Key takeaways: quotes about creativity

After reading these powerful quotes about innovation and creativity, you may have come to some of your own conclusions about the creative process.

We’ve also put together a few key takeaways that we’ve learned from getting lost in the world of creativity quotes:

Your unique perspective is your creative gold.

Bringing the spirit of fun, excitement, and child-like wonder is extremely valuable to being creative.
The more you live a life that inspires you, the more access you have to your creativity.

You’re not always going to be inspired. Sometimes you must sit down and work despite how you might feel.

Self-doubt is normal. Create anyway.

It takes time and effort. Small wins are stepping stones to success.

Create for yourself, not for the approval of others.

Be curious about life.

Creativity is not a moment—it's a flow.

Creativity can come from your inner world, or be inspired by things around you.

Refining and simplifying your creations lead to beautiful finished products. It’s a skill that must be learned.

Being creative is as important for solving real-world problems as literacy.

Creatives in all industries—marketers, designers, artists, business leaders, etc.—need to feed their inspiration to keep creativity alive. We do this through lifestyle, learning, practice, and community.

（Source:30 insightful creativity quotes to inspire innovation By Ben Barnhart @ https://www.linearity.io；About the author：Ben Barnhart　is a Content Lead for Linearity living in Berlin. His hobbies include board games, cooking, reading, and writing. 

Comment by Paris En mémoire on February 2, 2024 at 7:01pm

數智應用—数實融合

神山 乡产学 北岬 梦想学校 特色小镇 乐团

时空境 慢游 诗性 在职培训 技职教育

回乡创业 ESG 婆罗洲 客家 文化特区 巴生

Comment by Paris En mémoire on February 2, 2024 at 7:00pm

文创 华团 组织美学 地方感性 吉隆坡 书院 新文科

企业大学 微专业 地方志 地方创生 濱雪鄉鎮
 
媒体 感官 对话机械人/AI 4.0思潮                                                         

Comment by Paris En mémoire on January 24, 2024 at 9:12am

Cultural hubs: How to create a multidimensional experience by Art Insights

What is a cultural hub?

A clustering of cultural venues such as museums, galleries and performance spaces with secondary attractions including food and retail.

Did you know cultural hubs are on the rise in the UK? As museums and galleries increasingly pool resources, content and marketing, cultural consumers are also demonstrating an appetite for experiences that are multidimensional and incorporate more than one venue.

In recent years we have seen the launch of several interesting museum partnerships and marketing initiatives, such as the Cornwall Museums Partnership, Bath Museums Partnership, Coastal Culture Trail, London’s Museum Mile, Yorkshire Sculpture Triangle and Art in Yorkshire.

What we haven’t known until now is the scope of UK audiences’ appetite for these kinds of groupings, or the scale of opportunity they present to attract and increase visitors – whether formally as ‘hubs’ or through a more informal setup.

In 2015 we commissioned research to discover how organisations could best capitalise on cultural hubs in order to grow audiences.

We hope the results provide actionable insights you can use when collaborating with your peers to create a hub.

Aims and approaches

Our aim:

To grow your audiences through a shared vision Our research was designed to find out how, by teaming up and collaborating, you may be able to find creative, cost-effective ways to engage new visitors – and take your organisation from venue to multidimensional experience.

Our approach

The research project comprised three stages:

1. Stakeholder research Quantitative survey among cultural marketers

2. Visitor research In-depth qualitative research using focus groups comprised of
different cultural consumers – Classically Cultured, Contemporary Cultured and
Leisure Magpies – across four regions of the UK

3. Testing Quantitative survey among cultural consumers to test significance of findings

Cultural Consumers

1 Classically Cultured Cultural consumers with a fairly traditional and classical repertoire

2 Contemporary Cultured Cultural consumers with a voracious, diverse and
progressive repertoire

3 Leisure Magpies More mainstream cultural consumers with a varied leisure repertoire

Insights and observations

Current engagement is varied Our research found that, at this stage, even cultural marketers aren’t fully engaged with the term ‘cultural hub’.

In 2015 just over a third of people working in museum or gallery marketing departments claimed to be aware of the term in isolation. But when the concept was described there was more recall, and over half of marketers thought there were currently more than 10 cultural hubs in the UK.

Related:

Hubs can champion smaller venues

How to create a multidimensional experience

Comment by Paris En mémoire on January 23, 2024 at 5:18pm

The concept has real appeal

While the term ‘cultural hub’ isn’t particularly confidently known by
cultural consumers, the concept has significant appeal.

Among consumers, 42% say they are definitely not aware of the term and 46% say they think they are aware of it. Only 12% say they are definitely aware of it.

However, cultural consumers, particularly in London, do plan visits to multiple venues in a single visiting window. While they might not use the term, the concept is recognised – and attractive.

We asked: Which of the following cultural hubs are you aware of?
Hubs can satisfy diverse interests

Cultural hubs comprising organisations with distinct and differentiated offerings can offer variety to visitors.

Meanwhile, thematic hubs such as Yorkshire Sculpture Triangle offer depth around a single subject and can also provide an opportunity to engage with smaller, less well-known venues in a grouping.

Ultimately, hubs can deliver volume of content for the voracious cultural consumer as well as encourage piecemeal and spontaneous engagement with a particular site.

Visitors want to 'culture stack'

There is consensus around the ideal hub mix. Visitors expect at least one or two iconic, high-quality venues, which act as the main draw.

They don’t accept one single site or venue with a diverse cultural offering as a hub, although some organisations try to brand themselves as such.

Visitors want to ‘culturestack’ – to engage with a number of venues during a single visit.

When visitors culture-stack, their engagement tends to be more around permanent collections than temporary, paid-for exhibitions – for reasons of expense as well as an unwillingness to commit to several detailed exhibitions over a short period.

We asked: How appealing do you find a clustering of cultural venues and activities such as galleries, museums, performance venues and iconic architecture, etc?

Comment by Paris En mémoire on January 23, 2024 at 9:47am

Cultural Hub: Define a distinctive brand

Word of mouth is by far the most influential means of communicating about a cultural hub.

Brand recognition is critical, so your hub needs a brand idea that clearly positions its offer, for example ‘The Knowledge Quarter’. To be credible, your hub has to genuinely live up to that brand idea. The idea should act as a checker to measure all programme and communications activity against.

Speak with one voice Our research found that simply using consistent branding as badging, while each venue communicates on its own, doesn’t work. Cultural consumers want to find out about an experience in its entirety; just listing the components isn’t enough.

Your hub will have a cohesive proposition; a single thought in which it is rooted. It needs to be communicated clearly and with one voice across all participating venues.

 

Be authentic

A hub needs to be legitimate, and its offer truthfully communicated. Communicate a sense of space In marketing materials, it’s helpful to give a sense of your hub’s lively atmosphere and to visualise people on site. A bit of wit goes a long way and further humanises the hub and its venues.

When respondents were given some existing materials, they were critical of artists’ representations that make venues look very similar or unrealistically close to each other.

All participating venues must communicate the existence of a hub, for example through flags or banners – but this should not be overbearing. Tourists find it helpful to see some indication that they are in a cultural quarter, but residents don’t need this for any practical purpose.

The presence of these materials performs a branding and communication function only Empower your visitors with tools to navigate Cultural hubs need to be altruistic and flag up secondary attractions that will appeal to audiences, like architecture, food markets, refreshments and retail.

 

Develop a dynamic digital presence

All audiences now use social media to plan cultural outings. Social platforms allow your hub venues to talk as one, particularly if you don’t have a joint website, and allow you to deliver content and event messaging with immediacy.

To navigate these, audiences expect joint print materials such as posters and leaflets – and maps are an essential inclusion to describe the footprint of the hub and allow route-planning.

Your maps should be bespoke, and provide plenty of supporting detail such as scale, distance, ourney times between venues, and parking.Our research also showed that there is significant desire among consumers for a hub app that would detail programming, suggested itineraries and walks – similar to our Art Guide.

Reward your visitors’ loyalty

Your visitors are key to making a hub work. For it to become a genuine communal space, it needs to feel like one. Our research found that it’s important to reward your visitors for their participation.

Respondents react very positively to the notion of a loyalty card that involves all hub venues. When a certain number of check[1]ins at venues is reached, rewards are released – and these rewards should go beyond a free coffee, which is seen as too mundane and something high street coffee shops already offer.

（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）

Related: 10 ways to develop a cultural hub

Comment by Paris En mémoire on October 24, 2023 at 11:13pm

多彩“海絲”故事詮釋“天涯若比鄰”

新華社福州10月15日電（記者鄧倩倩）福州馬尾，東海之濱。歷史上世界各國的海船紛至沓來，看到馬尾港的羅星塔便知到了中國。如今，來自美國、法國、英國、馬來西亞等國家和地區的海洋文化研究專家學者相聚馬尾，在日前舉辦的世界海洋文明交流互鑒論壇上，共話東西方文明交流的歷史與未來。

福州曾以茶港馳名中外。以馬尾羅星塔爲比賽起點、終點在倫敦或紐約等地的船塢，發生在19世紀下半葉的“運茶比賽”至今爲海內外熟知。

1871年抵達福州參與運茶比賽的英國快速機帆船“卡蒂薩克號”，如今停泊在英國格林威治碼頭，已接待逾170萬名遊客。英國格林威治皇家博物館卡蒂薩克館館長露易斯·馬可法萊恩在論壇上發表了自己對卡蒂薩克號的研究成果。根據船舶日誌、報紙、外交部通信等材料，她還原了卡蒂薩克號到訪福州的過程。她認爲，從福州出發的運茶比賽也成爲英國運茶快船發展進入高潮的標誌性事件。

“德化的白、武夷的綠，南下東南亞，北上恰克圖，遠銷世界各地。”中國航海博物館副館長王煜説，“海絲”遺珍因此打上了許多福建印記，源自福建的媽祖信仰，已經廣佈海內外，至今香火旺盛；從廈門港出發的“泰興號”古船，以及衆多的海底沉船，依然像時間膠囊一般，等待着探尋和發掘。

隨舟所至，華人足跡遍佈全球。“中國東南沿海的先民早在16世紀以前，就已有組織地下南洋，形成‘海絲’沿線的各地華人聚落。他們以中華傳統文化作爲集體認同，並將信俗生態帶到當地。”馬來西亞道理書院院長王琛發説。

“海絲”沿線的文明互鑒比比皆是，明清時期中國與琉球的交流往來便是其一。福建師範大學社會歷史學院教授賴正維在論壇上回溯了這段歷史：通過琉球使團、閩人三十六姓及其後裔、中國冊封使團等人員密切往來，福建先進的造船航海技術及商品、文化源源不斷傳入琉球，極大促進了琉球海外交通和中介貿易的發展，同時促進了福建造船工藝的提高及商品經濟的繁榮。

海上絲綢之路串聯起的國度和地域，至今仍有着千絲萬縷的聯繫。例如，在日本，有與福建同名的黃蘗山、萬福寺，以“黃蘗”爲名的事物40多種。其源頭正是1654年福清黃蘗山萬福禪寺隱元禪師從福建東渡長崎，在日本開創黃蘗宗，其影響跨越四個世紀。

本次世界海洋文明交流互鑒論壇是2023世界航海裝備大會分論壇之一，2023世界航海裝備大會於10月12日至15日在福州市舉行，由福建省人民政府、工業和信息化部、交通運輸部主辦，福州大學與福建省海洋文化研究中心承辦。論壇期間，以“潮起東南 海歌閩聲”爲主題的福建海洋文化展也在中國船政文化城拉開帷幕。
（2023-10-15；來源：新華社客戶端）

Comment by Paris En mémoire on February 6, 2023 at 4:32pm

一臺六分儀·簡評段義孚《戀地情結》

著名地理學家段義孚（TuanYi-Fu）的代表作《戀地情結》（Topophilia），簡體中文版已經在2018年由商務印書館發行，這一著作的合作譯者是志丞、劉蘇兩位老師。

國內地理學界對段義孚不會陌生，他是人文主義地理學（Humanistic Geography）的重要代表人物。段義孚早年學習地貌學，但很快便將學術興趣轉向人地關係與人文主義地理學。他將地理學、現象學、符號學、生理學、歷史學等多門學科融會貫通，采用了一種全新的方式進行地理學研究。《戀地情結》就是這樣一本代表了他的研究特色和研究水準的學術著作。這本書由15個部分組成，分別從生理感受、心理狀態、宇宙哲學、民族中心主義、個體、文化、環境、土地、景觀、城市等方面與地理學的關係來闡述「戀地情結」這一主題。是書一經出版，便在西方地理學界名聲大噪，成為美國很多地理院系的參考書目。

「戀地情結」一詞的所有權屬於美國詩人W. H. Auden，他於1948年在一篇推介英國詩人John Betjeman的作品時首次使用這個詞語。[1]這個詞被用來表達人、場所、環境之間的感情連結。這本書所代表的人文主義地理學力求在唯物主義、唯心主義中達到一個平衡點，相信這對於習慣了接受唯物主義思想的我們來說，初次閱讀的沖擊力相當大（當然，學界早已走出了那個一味崇尚唯物主義而批判唯心主義的時代）。如今，越來越多的學科注重跨學科研究與合作，尤其是心理學的作用日益凸顯。[2]原因顯而易見，因為人並非完全受理性控制，而所有科學在21世紀又都呈現出社會科學化的趨勢。[3]地理學也不例外，在這本書的開頭，段義孚就以感官為切入點，通篇強調感官感覺、心理狀態對於認知世界的重要性。段義孚認為，要研究人地關係，就首先要研究人類自己，「人文問題，無論是經濟的、政治的還是社會的，都受到心理動機、價值觀與態度的深刻影響」。[4]人作為一個個體，他認識世界，就是從調動各個感官去感知環境開始的。通過調動所有感官，人們才形成了空間（space）與地方（place）的概念。在談到這兩個地理學最核心的概念時，段義孚用直觀感受對二者進行描述定義，認為二者相互依存，無法拋開一個談論另一個。這對於地理學理論方法不得不謂之是一大創新。這對於歷史地理、環境史等學科研究也有借鑒意義。

空間與地方的觀念在段氏另一巨著《空間與地方》中有專門的研究。[5]段義孚以感覺來定義空間與地方。段認為，空間與地方本身的定義十分模糊，不存在嚴格的邊界，二者並非是不可轉化的。人們對地方的依戀來自於對地方的歸屬感和安全感。因此地方本身應是封閉的——封閉使人感到安全；空間則是開放的、無邊界的——空曠使人感覺到憂懼。也正是因為這一點，當人們長期處於一個空間，並對其越來越熟悉之後，那空間就會轉變為地方。[6]

人地關係是這些學科的重要關注領域，但長期以來，從業人員一味追求量化研究，與自然科學接軌，卻忽視了對人本身的關懷，這種觀念趨勢學者對所謂「真實客觀」趨之若鶩，幾乎要回到蘭克史學的老路子上去，但這種趨勢有時，甚至在大多時候，都嚴重阻礙了研究工作的進展。以方位觀念研究為例，對於歷史學者來說，大多數人很難說清楚「東西南北」與「中」之間的關係。段義孚則拋棄文獻的桎梏，以矛盾的觀點來處理二者之間的關係，認為「『中央』這個概念也作為明晰的四面八方的概念的調和者而存在」。[7]當然，這個理論究竟正確與否還有待進一步檢驗，但書中所提供的新思維新理論卻是值得我們參考借鑒的。

人文主義地理學之所以受到學界重視和推崇，就是在於它使得地理學再次有了人文關懷，[8]在以往的各種地理學流派中，幾乎都將人類本身從研究主體中剝離出去。[9]在上世紀中後期的地理學界中，學者越來越傾向於利用數理技術來處理研究對象，[10]甚至一度淪為程式化分析。究其根本原因，就是地理學嚴重的「空心化」現象。地理學作為一門古老的研究地域的科學，最早它只回答what和where——一種文學色彩很濃的解答方式。但在洪堡（A. Humboldt）和李特爾（Ritter）兩位地理學大師之後，廣義的地學（Erdkunde / Erdbeschreibung）開始分裂，很多研究領域紛紛獨立出去：氣象學、地質學、地球化學、地球物理學、水文學……等這一切完成之後，人們回過頭再看他們的鼻祖——地理學，竟發現地理學已經被肢解得體無完膚，似乎地理學自己已經不剩下什麽研究領域了。為了捍衛地理學，執業者不得不放棄老一套的研究方式，轉向回答how和why，要回答這些問題，就不得不將文學傳統轉移至數理方法，因此，3S（GPS & RS & GIS）技術的及時出現可謂拯救了地理學。但量化研究解決不了所有地理學問題，尤其是涉及人地關係的問題。因此，段義孚重拾對人的重視，回歸到地理學本來的傳統，這不得不說是又一次地理學的革命，也讓大眾了解到，地理學並非是一門高深莫測的學科。

[1] 志丞、劉蘇：《戀地情結▪譯後記》，商務印書館，2018年，第402頁。

[2] [美]王晴佳：《為什麽情感史研究是當代史學的一個新方向？》，《史學月刊》2018年第4期，第5-6頁。

[3] 孫俊：《知識地理學：空間與地方間的敘事轉型與重構》，北京：科學出版社，2016年，第65-73頁。

[4] [美]段義孚：《戀地情結》，志丞、劉蘇譯，商務印書館，2018年，第1頁。

[5] [美]段義孚：《空間與地方》，王志標譯，北京：中國人民大學出版社，2017年。

[6] 可參看王健等：《地方感何以可能——兼評段義孚〈Space and place: The Perspectives of Experience〉一書》，《民族學刊》2016年第5期，第15-19頁。詳細內容可參看段義孚《空間與地方》第5章內容。

[7] [美]段義孚：《戀地情結》，第22頁。

[8] 唐曉峰：《還地理學一份人情》，《中學地理教學參考》2003年第6期，第56-57頁。

[9] Tim Cresswell, Geographic Thought: A Critical Introduction, Malden:Blackwell Publishing, 2013, p.105.

[10] 張雷：《張雷評段義孚：無土時代的戀地情結》，《上海書評》2018年11月2日。

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