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Organization theory and poetry: A not so elusive link(REFERENCES)
tag:iconada.tv,2023-02-09:3600580:BlogPost:1196611
2023-02-09T02:30:00.000Z
用心涼Coooool
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<p><strong>REFERENCES</strong> <br></br> <br></br> Abma R (1999). Bonds of Love: Methodic Studies of Prophetic Texts with Marriage Imagery, The Netherlands: Van Gorcum & Company. <br></br> <br></br> Alvesson M (2002). Understanding Organizational Culture, SAGE Publications Limited: London. <br></br> <br></br> Arkins B (1990). Builders of My Soul: Greek and Roman Themes in Yeats, USA: Barnes & Noble Books. <br></br> <br></br> Barry D (1996). “Artful Inquiry: A Symbolic Constructivist Approach to Social Science…</p>
<p><strong>REFERENCES</strong> <br/> <br/> Abma R (1999). Bonds of Love: Methodic Studies of Prophetic Texts with Marriage Imagery, The Netherlands: Van Gorcum & Company. <br/> <br/> Alvesson M (2002). Understanding Organizational Culture, SAGE Publications Limited: London. <br/> <br/> Arkins B (1990). Builders of My Soul: Greek and Roman Themes in Yeats, USA: Barnes & Noble Books. <br/> <br/> Barry D (1996). “Artful Inquiry: A Symbolic Constructivist Approach to Social Science Research”. Qual. Inq., 2(94): 411-438. <br/> <br/> Clegg SR, Hardy C, Nord WR (eds.) (1996). Handbook of Organization Studies, London: Sage. <br/> <br/> Cornelissen JP (2005). “Beyond Compare: Metaphor in Organization Theory”. Acad. Manage. Rev., 30 (4): 751-764. <br/> <br/> Cornelissen JP (2004). “What are we playing at? Theatre, Organization, and the Use of Metaphor”. Organ. Stud., 25 (5): 705-726. <br/> <br/> Crisp P, Heywood J, Steen G (2002). “Metaphor Identification and Analysis, Classification and Quantification”. Lang. Lit., 11(1): 55-69. <br/> <br/> Czarniawska B (2006). Organization Theory. Indiana University: Edward Elgar. Vol. 1 – 2, <br/> <br/> Dale K, Burrell G (2002). “An-aesthetics and architecture”. Tamara, 2(1): 77-90. <br/> <br/> Deignan A (2005). Metaphor and Corpus Linguistics, Netherlands: John Benjamins Publishing Company. <br/> <br/> Dreiling A (2007). Myths, Narratives and the Dilemma of Managerial Support: Organizational Learning as an Alternative? Frankfurt: Deutsher Universitas. <br/> <br/> Gopal R, Sachar S (2000). Indian English Poetry and Fiction: A Critical Evaluation, New Delhi: Atlantic Publishers & Distributors. <br/> <br/> Hancock P (2005). “Uncovering the Semiotic in Organizational Aesthetics”, Organization, 12 (1): 29-50. <br/> <br/> Hancock P, Spicer A (eds.) (2010). Understanding Corporate Life: The Warwick Organization Theory Network, London: SAGE Publication Ltd. <br/> <br/> Hatch MJ (2011). Organizations: A Very Short Introduction, Oxford: Oxford University Press. <br/> <br/> Hatch MJ (1997). Organization Theory: Modern Symbolic and Postmodern Perspectives. New York: Oxford University Press Inc. <br/> <br/> Hay EK (1982). T.S. Eliot’s Negative Way, USA: Harvard University Press. <br/> <br/> Hernes T (2004). The Spatial Construction of Organization, The Netherlands: John Benjamins Publishing Company. <br/> <br/> Hirsch E (1999). How to Read a Poem and Fall in Love with Poetry, USA: Harvest. <br/> <br/> Hogan PC (2003). Cognitive Science, literature and the arts: a guide for humanists, New York: Routledge. <br/> <br/> Hopkinson GC (2003). “Stories from the Front-Line: How they construct the organization”, J. Manage. Stud., 40(8): 1943-1969. <br/> <br/> Johnson M (2007). The Meaning of the Body: Aesthetics of Human Understanding, London: University of Chicago Press.<br/> <br/> Jones C, Bos R (2007). Philosophy and Organization, Routledge: Oxon. <br/> <br/> Jones C, Munro R (eds.) (2005). Contemporary Organization Theory, UK: Blackwell Publishing. <br/> <br/> Juhasz S (1974). Metaphor and Poetry of Williams, Pound, and Stevens, New Jersey: Associated University Presses, Inc. <br/> <br/> Kamoche KN, Cunha MPE, Cunha JVD (eds.) (2005). Organizational Improvisation, New York: Routledge. <br/> <br/> Kanda KC (1992). Masterpieces of Urdu Ghazals: From the 17th to the 20th Century, New Delhi: Sterling Publishers Private Limited. <br/> <br/> Karaosmanoglu E, Melewar TC (2006). “Corporate Communication, Identity and Image: A Research Agenda”, J. Brand Manage.,, 14: 196-206. <br/> <br/> Lall R (2005). Philip Larkin: Selected Poems, 9th edition, Lahore: Famous Products. <br/> <br/> Langfeld HS (1920). The Aesthetic Attitude, USA: Harcourt, Brack & Howe, Inc. <br/> <br/> Lewin AY (1998). “Introduction – Jazz Improvisation as a Metaphor for Organization Theory”. Organ. Sci., 9(5): 539-551. <br/> <br/> Loizeaux EB (2003). Yeats and the Visual Arts, New York: Syracuse University Press. <br/> <br/> McAuley J, Duberley J, Johnson P (2007). Organization Theory: Challenges and Perspectives, Prentice Hall: Financial Times. <br/> <br/> Miller JE (1978). T.S. Eliot’s Personal Wasteland: Exorcism and Demon, USA: The Pennsylvania State University. <br/> <br/> Mills AJ, Mills JCH. Bratton J, Forshaw C (2006). Organizational Behavior in a Global Context, Broadview Press: Canada.<br/> <br/> Morgan G (1998). Images of Organization, the executive edition, Sage Publications. <br/> <br/> Morgan G (1980). “Paradigms, Metaphors, and Puzzle Solving in Organization Theory”. Admin. Sci. Quart., 25 (4): 605-622. <br/> <br/> O’Neill M (2004). A Routledge Literary Sourcebook on the Poems of W.B. Yeats, USA: Routledge. <br/> <br/> Oswick C, Keenoy T, Grant D (2002). “Metaphor and Analogical Reasoning in Organization Theory: beyond orthodoxy”, The Acad. Manage. Rev., 27(2): 294-303. <br/> <br/> Palshaugen O (1998). The End of Organization Theory? Netherlands: John Benjamins Publishing Company. <br/> <br/> Pfister J (2009). Managing Organizational Culture for Effective Internal Control: From Practice to Theory, Physica-Verlag: Berlin. <br/> <br/> Polley D (1997). “Turbulence in Organizations: New Metaphors for Organizational Research”. Organ. Sci., 8(5): 445-457. <br/> <br/> Ramirez R (2005). “The aesthetics of cooperation”. Eur. Manage. Rev., 2(1):28-35. <br/> <br/> Sadler-Smith E, Evans C (2006). “Learning Styles in education and training”. Educ. plus Train., 48 (2/3): 84-96. <br/> <br/> Samiuddin A (ed.) (2004). Encyclopedic Dictionary of Urdu Literature Volume 1, New Delhi: Global Vision Publishing House. <br/> <br/> Schmitt BH, Simonson A, Marcus J (1995). “Managing Corporate Image and Identity”. Long Range Plann., 28(5): 82-92. <br/> <br/> Schram D, Steen G (eds.) (2001). The Psychology and Sociology of Literature: In honor of Elrud Ibsch, The Netherlands: John Benjamins Publishing Co. <br/> <br/> Steen G (2002). “Towards a Procedure for Metaphor Identification”. Lang. Lit., 11 (1): 17-33. <br/> <br/> Stewart D (2001). “Reinterpreting the Learning Organization”, Learn. Organ., 8(4):141-152. <br/> <br/> Teck FC (2006). “Competitive Aesthetics, Semiotic, Chaos and Leadership: Corporate Photography Strategy for the CEO”. Corp. Commun.: Int. J., 11(2): 109-125. <br/> <br/> Thorpe R, Holt R (eds.) (2008). The Sage Dictionary of Qualitative Management Research, London: SAGE Publications Ltd.<br/> <br/> Unterecker J.E. (ed.) (1963). Yeats: A Collection of Critical Essays USA: Prentice-Hall, Vol. 23. <br/> <br/> Warren S (2002). “Show me how it feels to work here: Using photography to research organizational aesthetics”. Ephemera, 2(3): 224-245. <br/> <br/> Yanow D (1996). How Does a Policy Mean? Interpreting Policy and Organizational Actions, Georgetown University Press: Washington DC. <br/> <br/> Yazdani MAM (1986). Badan Nama Mir: Kalam-i-Mir Ka Aaik Munfrid Pehlu, Lahore: Allah Wallah Printers. <br/> <br/> Zack MH (2000). “Jazz Improvisation and Organizing: Once more from the Top”. Organ. Sci., 11 (2): 227-234. <br/> <br/> Zama M (2004). Poetry and the Ages, New Delhi: Orient Longman Private Limited.</p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (6)
tag:iconada.tv,2023-02-03:3600580:BlogPost:1196620
2023-02-03T21:00:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p>Corporate aesthetics is one of such emerging arena, where value is put on the beautiful, sensuously pleasing and aesthetical aspects of organizations. Contemporary writers of organization theory suggest that the field not only draws from Natural Sciences and Economics but from multiple and diverse disciplines. They do not rule out Literature and Arts from these parent perspectives. The symbolic interpretive view of organization theory cognizes that organizations are socially constructed and…</p>
<p>Corporate aesthetics is one of such emerging arena, where value is put on the beautiful, sensuously pleasing and aesthetical aspects of organizations. Contemporary writers of organization theory suggest that the field not only draws from Natural Sciences and Economics but from multiple and diverse disciplines. They do not rule out Literature and Arts from these parent perspectives. The symbolic interpretive view of organization theory cognizes that organizations are socially constructed and that languageplays a vital part in this construction or sense making.<br/> <br/> This opinion paves way for disciplines of Linguistics, Sociology, Religion, Arts and Literature to formulate ‘undifferentiated’ organizational knowledge and theories. <br/> <br/> This paper has focused on the link between organization theory and poetry. This link between the two<br/> disciplines is captured through the use of metaphors in both fields. Metaphorical employments in poetry are well known and this paper provides some examples from both English and Urdu poetry of such instances. Metaphors emerge as instruments and tools of conveying multiple meanings which enrich and contextualize the language and enhance understanding. The metaphor of ‘Wasteland’, for example, informs us of the psychological, social and economic conditions of Post World War world.<br/> <br/> These conditions could be described without employing this metaphor but it would not be as terse, concise, enrich and immediate in conveying what the writer wants to convey. The one word ‘wasteland’ conveys it all forcefully and immediately. The same characteristic of metaphors is seen at display in the analysis of Mir Taqi Mir’s poetry where body parts are employed to convey sublime and ephemeral meanings and feelings. It comes out that metaphors are the best tools to describe the felt emotions <br/> which are otherwise difficult to describe and convey. <br/> <br/> How the same instrument is employed for the same purpose of conveying meanings and enhancing <br/> understanding in organization theory is further discussed here. The examples of organizational metaphors <br/> highlighted in this paper shows that the basic purpose and function of a metaphor is to create a link between an abstract concept and the concrete form of organizations. <br/> <br/> The Machine metaphor, for example, captures the abstraction of a ‘machine’. These abstraction include, the ability of a machine to produce something and interconnection of its individual parts to produce a whole. These abstractions, when applied in organizational context, capture concretely the various systems, sub-systems, departments and processes which coordinate with each other to produce products and services. The ‘organism metaphor’ takes the abstract-concrete link a step further. <br/> <br/> It also includes the context of organization environmental elements through the abstraction of a cell’s or organism’s intercellular or immediate physical environment. The metaphor Theater encompasses organizational stakeholders through the abstract concept of stage actors (organizational actors or employees), audience (external stakeholder like consumers and competitors), directors and producers (top management of organization) and success or failure of the theater (organizational performance). It can be inferred from this discussion that metaphors have different levels or dimensions. Theater metaphor is more ‘multi-dimensional’ than the Machine metaphor because the former captures, compares and links more elements of the abstract with concrete organizational forms. In a like manner, the employment of two metaphors in conjunction (what Morgan terms as ‘binocular vision’ metaphor) also improves the meaning conveying capability of the metaphors. For example if the Machine and Organism metaphors are simultaneously used to describe an organization, they would not only capture its internal machine like functioning but also its organism like link with the external environment and other stakeholders. <br/> <br/> The aforementioned discussion highlights that both in poetry and organization theory, the metaphors have the theoretical and practical potential to compare and contrast the ‘source’ (abstraction) with the ‘target’ (the actual organizational or social reality). As an episteme, the metaphor possesses the power to encompass the ontological reality. <br/> <br/> This reality could be the structure, systems, culture, strategy, processes, in case of an organization or the daily life sorrows, joys, relations, depressions and devastation at social and societal levels. Poetry and Organization Theory are therefore not entirely and highly differentiated fields but are strongly linked through the medium of language which enables both organization theorists and poets to ‘constructs’ <br/> social realities. Metaphors are but one of such conceptual tools of language.<br/> <br/> (<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a rel="nofollow" href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a> )</p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (5)
tag:iconada.tv,2023-01-30:3600580:BlogPost:1196828
2023-01-30T16:30:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p>Metaphors are used in organization theory as tools to <br></br> convey meanings and to illuminate and illustrate theories <br></br> by linking them with some more familiar word, phrase or <br></br> object (Hernes, 2004). For example, the metaphor of jazz <br></br> is used to reflect the “temporal, emotional and ambiguous <br></br> aspects of organizational structure (Kamoche et al., <br></br> 2005; Lewin, 1998; Zack, 2000). Similarly organizations <br></br> are metaphorically described as theatres (Cornelissen, …<br></br></p>
<p>Metaphors are used in organization theory as tools to <br/> convey meanings and to illuminate and illustrate theories <br/> by linking them with some more familiar word, phrase or <br/> object (Hernes, 2004). For example, the metaphor of jazz <br/> is used to reflect the “temporal, emotional and ambiguous <br/> aspects of organizational structure (Kamoche et al., <br/> 2005; Lewin, 1998; Zack, 2000). Similarly organizations <br/> are metaphorically described as theatres (Cornelissen, <br/> 2004). Metaphors are useful to organization theory not <br/> only because they provide a linkage between an organizational phenomena and a word, phrase or object (the <br/> comparison model) but also because they create and <br/> generate new meanings beyond the more visible association between the source and the target (Cornelissen, <br/> 2005). Metaphors allow us to create a thought, but that <br/> created thought is disciplined. This duality of creativity <br/> and discipline, allows one to grapple with the manysidedness of an organizational issue, phenomena or <br/> problem (Oswick et al., 2002). <br/> Currently the description and analysis of organizational <br/> metaphorical forms is a common practice in organization<br/> theory. A metaphor is a particular linguistic expression <br/> that links abstract social constructs to concrete social <br/> actions. It works through invoking a concept originating <br/> from another field or level than the one that is being <br/> studied. A metaphor forms a specific image or gestalt of <br/> the organization (Mills et al., 2006). Literature identifies <br/> certain characteristics or criterion of a sound organizational metaphor. One of such criterion is the capacity of <br/> a metaphor to generate new theoretical and practical <br/> insights about organizations. Other criteria include the <br/> ability of one metaphor leading to the creation of new <br/> metaphors and variables and also providing the right<br/> balance of similarities and differences between the <br/> ‘source’ and the ‘target’ (Morgan, 1998; Alvesson, 2002; <br/> Clegg et al., 1996). Metaphors are the basic structural <br/> forms of experience through which people engage, organize and understand their worldviews and are considered <br/> as the most effective communicative devices and if seen <br/> as epistemological devices to understand organizational <br/> phenomena, they must be able to embrace the ontological dynamism of organizations and their sub-systems <br/> (Sadler-Smith and Evan, 2006). Unlike brands, they are <br/> the conceptual abstract “which resides in the minds” of<br/> organizational stakeholders and highlight the difference <br/> and identity of a particular organizational form (Pfister, <br/> 2009; Yanow, 1996; Polley, 1997). <br/> It is interesting to realize that we understand the world <br/> on the basis of stories and narratives which are deeply <br/> rooted in our mind since early childhood. They prepare <br/> our minds to see and perceive the world and happenings <br/> around us as stories (Stewart, 2001). Narratives are concerned with metaphorical articulation through language. <br/> Metaphors are therefore an automatic instrument of our <br/> language through which we ‘socially construct’ our <br/> worldviews and realities and formulate the link between <br/> abstractions and concrete forms and realities. Metaphors <br/> provide insights which help in the understanding of organizational meanings, goals, values, processes, strategies, <br/> structures, cultures and systems (Hopkinson, 2003). <br/> <br/> DISCUSSION <br/> The discourse of organization theory informs us that it <br/> has been devoid of abstract, ephemeral and metaphysical facets of knowledge. The fields of religion, history, <br/> mystic philosophy and arts and literature, apparently seems to have had little impact on organization theory. <br/> This particularly refers to the Western style of organizing <br/> and managing which emerged after the eras of enlightenment, renaissance and modernism. However, this trend<br/> seems to be shifting even in the West. Western writers <br/> and critics are pointing towards this shift by highlighting <br/> that non-empirical fields are slowly clawing their way<br/> back into the mainstream organization theory.<br/> <br/> (<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a rel="nofollow" href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a></p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (4)
tag:iconada.tv,2023-01-28:3600580:BlogPost:1196685
2023-01-28T15:00:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p>The poem is highly metaphorical reflecting the imagination of a rejected lover who is viewing his beloved’s <br></br> honeymoon with someone else. The rejected lover is <br></br> viewing the honeymoon as a kind of ‘post-mortem’. The<br></br> key metaphorical words are ‘bread’, ‘platter’, ‘knife’, ‘flesh’ <br></br> and ‘hunger’. Bread is the frigid and unwilling beloved, <br></br> whose flesh is cut across by the maleness (knife) of her <br></br> husband. Hunger is the reflection of carnal desires of her …<br></br></p>
<p>The poem is highly metaphorical reflecting the imagination of a rejected lover who is viewing his beloved’s <br/> honeymoon with someone else. The rejected lover is <br/> viewing the honeymoon as a kind of ‘post-mortem’. The<br/> key metaphorical words are ‘bread’, ‘platter’, ‘knife’, ‘flesh’ <br/> and ‘hunger’. Bread is the frigid and unwilling beloved, <br/> whose flesh is cut across by the maleness (knife) of her <br/> husband. Hunger is the reflection of carnal desires of her <br/> husband which is devoid of non-physical and eternal <br/> love, the kind of love, which the rejected lover’s broken <br/> heart harbored for his beloved (Gopal and Sachar, 2000). <br/> One specific example from Urdu poetry <br/> Mir Taqi Mir (1722 to 1808) is one of the immortals<br/> among Urdu poets. He uses suggestions, images, and <br/> metaphors in a masterful manner. His favorite theme is <br/> unfulfilled love. His mastery over the art of composing <br/> ghazal, a special genre of Urdu poem is acknowledged <br/> by his contemporary Zauq, another famous Urdu poet, in<br/> the following words: <br/> Never, never, could I attain the grace of Mir’s style,<br/> Though, I strained every nerve to cultivate the ghazal<br/> (Kanda, 1992; Samiuddin, 2004). <br/> A critic and writer of Urdu poetry, Majeed Yazdani (1986)<br/> has conducted a thorough search of the use of body <br/> parts (employed as metaphors) in the poetry of Mir Taqi <br/> Mir. <br/> According to Majeed Yazdani (1986), body parts play <br/> vital role in poetic collection of Mir Taqi Mir. In Qulyaat-eMir (the collection of Mir’s poetry) the use of body parts<br/> as metaphors is quite in abundance. He qualifies this <br/> statement by painstakingly collecting 6746 couplets from <br/> the 13578 couplets of gahazals in Qulyaat-e-Mir which <br/> employ the body parts such as heart, liver, chest, eye, <br/> brain, hand, feet, head, and tongue. This amounts to <br/> about 50% of the total couplets of Qulyaat. These body <br/> parts metaphorically convey the notions and f eelings of <br/> intellect, grief, unfulfilled love, beauty, promise, tears <br/> hope, and eloquence. <br/> ORGANIZATION THEORY AND METAPHORS <br/> The clear demarcating line between social sciences and art and aesthetics is blurred and questionable. The <br/> modernist stance of organization theory (and social <br/> sciences) was that of differentiation. Social sciences were <br/> made ahistoric and amoral as result of this project of <br/> differentiation. Prior to Western modernity, religion, art <br/> and rational knowledge were undifferentiated. The <br/> positivistic movement of late 19th and early 20th century <br/> however exalted only that knowledge which was <br/> empirically demonstratable (Palshaugen, 1998). <br/> How empiricism affected the field of organization theory <br/> can be inferred from its definition which was well used <br/> into the 1970’s: it was defined “as the study of structures, <br/> functioning and performance of organizations and their <br/> behaviors of groups and individuals within them” (Jones <br/> and Munro, 2005). It was in 1980s that organiza-tion<br/> theory started dismantling its colonial burden of valueneutral and amoral language. During the 1980s, a branch <br/> of organization theory called ‘action research’ started to <br/> emerge. Action research challenged the notion of <br/> ‘method’ and ‘methodology’ in the process of research <br/> and had more in common with arts than with sciences. <br/> The purpose of this kind of research was to find out truth <br/> without the imposition of scientific methodological <br/> framework (Palshaugen, 1998). <br/> It was also in the 1980s that metaphors started finding <br/> their place in organization theory. Metaphors are used in <br/> organization theory literature after Morgan’s groundbreaking work Images of Organization (1998). Since <br/> then, some theorists have attempted to capture different <br/> organization theory perspectives through metaphors. The <br/> metaphors of machine, organism, culture and collage are <br/> descriptive of the classical, modern, symbolic-interpretive <br/> and post-modern perspectives in organization theory <br/> (Dreiling, 2007; Hatch, 2011). He opened up these ‘tight <br/> paradigms’ or perspectives by linking them to abstract <br/> symbols. These abstract symbols or metaphors had the <br/> power to convey meanings in more enriched and <br/> purposeful way. Morgan’s simultaneous use of two <br/> metaphors (binocular vision metaphor) posits that, two <br/> metaphors used together are superior to one another in <br/> providing a picture of reality, just as two eyes used <br/> together provide a better and broader vision than one eye <br/> (Gibson Burrell as in, Clegg et al., 1996; Morgan, 1980). <br/> Metaphors are said to have added a rich and creative <br/> dimension to the understanding of organization theory <br/> related issues (Czarniawska, 2006). <br/><br/>(<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a rel="nofollow" href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a></p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (3)
tag:iconada.tv,2023-01-27:3600580:BlogPost:1196619
2023-01-27T15:00:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p>Some specific examples from English poetry <br></br>Metaphoricity or symbolism of Yeats is occult in nature. <br></br>He uses metaphors of hound with one red ear, a white <br></br>deer with no horns, and an island in the sea to capture the Irish legendary characters. He also uses many metaphors to represent the Kabalistic traditions. The <br></br>metaphors of ‘Immortal Rose’ and the ‘seven lights’<br></br>capture Rosicrucian flower and the seven planets and <br></br>astral lights (William York Tindall as in…</p>
<p>Some specific examples from English poetry <br/>Metaphoricity or symbolism of Yeats is occult in nature. <br/>He uses metaphors of hound with one red ear, a white <br/>deer with no horns, and an island in the sea to capture the Irish legendary characters. He also uses many metaphors to represent the Kabalistic traditions. The <br/>metaphors of ‘Immortal Rose’ and the ‘seven lights’<br/>capture Rosicrucian flower and the seven planets and <br/>astral lights (William York Tindall as in Unterecker, 1963). <br/>He also uses the metaphor of ‘Byzantium’, an imaginary <br/>city where the entire culture is permeated with peace, <br/>solace and holiness (O’Neill, 2004; Arkins, 1990). He <br/>captures the zenith of Christian civilization through <br/>‘Byzantium’ where the culture has reached its utopian <br/>perfection and there is no harm committed against any by <br/>the others. He employs the metaphor of ‘rose’ to convey <br/>a sense of eternal love and beauty and also frequently <br/>covey religiosity through the metaphors of ‘cross’, ‘bird’, <br/>‘tree’, ‘moon’ and ‘sun’. At other times, he uses symbols <br/>such as ‘dance’ (representing patterned movement and <br/>joyous energy) and ‘wheel’ to represent civilization as it <br/>passes through various stages and phases of the <br/>unstoppable wheel of time. It is through rich symbols and <br/>metaphors that he gives “dumb things voices and <br/>bodiless things bodies” (Loizeaux, 2003). <br/>Similarly Eliot’s use of metaphor of ‘air’ represents lofty <br/>thoughts and of ‘earth’ which represents biological <br/>progress of human life in his poem “The Dry Salvages”. <br/>This poem is the metaphorical reflection of American<br/>optimism in the sense that ‘dry drowners’ are transformed <br/>as ‘salvagers’ (Hay, 1982). His famous poem “The <br/>Wasteland”, metaphorically expresses the mood of Eliot’s <br/>generation around the time of Great Depression of early <br/>20th century and his own personal mood (Miller, 1978). <br/>The metaphor of ‘wasteland’ is both ‘macro’ in the sense <br/>that it reflects the aftermath and miseries of First World <br/>War and ‘micro’ in reflecting the wasted and missed <br/>opportunities of life at a personal level. Philip Larkin’s <br/>poem “Church Going” uses going to church as a <br/>metaphor of wisdom and nostalgia rather than a religious <br/>practice. It was written in mid-20th century when the <br/>practice of church going was fast receding. The following <br/>lines metaphorically depict the societal conditions of his <br/>time: <br/>The echoes snigger briefly. Back at the door <br/>I sign the book, donate an Irish sixpence; <br/>Reflect the place was not worth stopping for; <br/>Yet stop I did: in fact I often do (Lall, 2005). <br/>He uses many metaphors within the poem “Church <br/>Going”. For example, the metaphor of ‘Irish sixpence’ <br/>reflects the worthlessness of Irish money as compared to <br/>English money and the ‘dubious women’ reflects the <br/>dwindling faith of populace in religion which is also a ray <br/>of hope for many in those times (Zama, 2004). He goes <br/>to church though it was not worth going, a typical <br/>modernist stance, but he did go. This thought reflects that <br/>going to church is used as a metaphor to keep alive a <br/>tradition. <br/><br/>The following lines from a brief poem entitled “Postmortem” is another example of how metaphors are used in poetry: <br/><br/>A cold corpse of a bread <br/>On the platter, <br/>And the knife tenderly <br/>Going through its flesh, <br/>To assuage <br/>A hunger – <br/><br/><br/>(<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a rel="nofollow" href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a></p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (2)
tag:iconada.tv,2023-01-25:3600580:BlogPost:1196684
2023-01-25T15:00:00.000Z
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<p>LITERATURE AND METAPHORS <br></br> <br></br> The language of poetry according to P.B. Shelley “is vitally metaphorical; that is, it makes the before unapprehended relations of things and perpetuates their apprehensions”. This means metaphors create new meanings and insights. They are a tool of revitalizing the language. By creating something new, through employing metaphors, the poet also restores something old, ancient and lost (Hirsch, 1999). <br></br> <br></br> In a generalized way, a metaphor is defined…</p>
<p>LITERATURE AND METAPHORS <br/> <br/> The language of poetry according to P.B. Shelley “is vitally metaphorical; that is, it makes the before unapprehended relations of things and perpetuates their apprehensions”. This means metaphors create new meanings and insights. They are a tool of revitalizing the language. By creating something new, through employing metaphors, the poet also restores something old, ancient and lost (Hirsch, 1999). <br/> <br/> In a generalized way, a metaphor is defined as: “a word or expression that is used to talk about an entity or quality other than that referred to by its core or most basic meaning” (Deignan, 2005). It is also said to represent “a figure of speech in which a word or phrase is applied to an object or concept that it does not literally denote”(Juhasz, 1974). In Poetics, Aristotle defines metaphor as “the application of a strange term either transferred from the genus and applied to the species, or from the species and applied to the genus, or from one species to another or else, by analogy”. <br/> <br/> Metaphor is a literary device in which terms from two different areas of life are brought together in order to achieve a special meaning which goes beyond the ordinary meaning of words or concepts (Abma, 1999).It is also defined as “a set of correspondence between two conceptual domains” (Steen, 2002; Crisp et al., 2002). Conceptual metaphors and image schemas generate the inferences we make using metaphorical conception. For example, falling is an action in which one is out of control. Cognitive poetics would thus, infer that “falling in love will entail being out of control, being excited, and being scared”. <br/> <br/> This implies that ‘falling in love’, as compared to being ‘in love’, would be a more emphatic expression because, the one who falls in love is out of control, highly excited and beyond recovery. This abstract and sublime difference between the two categories of love; ‘in love’ and ‘falling in love’ therefore enhances our understanding of the difference in degree of feelings and emotions between the two categories. In the same way body movements play a major role in conveying meaning. We can only understand what a ‘twisted personality’ means if we know the body movement that is being twisted. Similarly ‘standing straight’ and ‘tall’ employ moral uprightness. The true essence of which cannot be inferred unless and until the body movement of standing upright is fully understood. <br/> <br/> This means that the meaning is not merely a linguistic phenomenon which is only a matter of words and sentences. Music, painting, architecture and even poetry (if not likened with prose) provide us with something beyond words. They provide us with image schemas or metaphors and exalt them above the pure entertainment value (Johnson, 2007; Schram and Steen, 2001). <br/> <br/> According to critical theorists of language, there is hardly any difference between literary and ordinary language. Similarly metaphors are used to convey meanings both in serious literary and ‘idle talk’ sense. <br/> <br/> They simply transfer meanings and information. It is however important that a metaphor entails two terms: target and source. For example, if it is said “He was a lion in today’s meeting” here he is the target while lion is the source (Hogan, 2003). The listener will understand that he behaved bravely or aggressively (both qualities of the source or lion in this case) during the meeting.<br/> <br/> <br/> (<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a></p>
Organization theory and poetry: A not so elusive link by Naveed Yazdani , Hasan S. Murad and Rana Zamin Abbas (1)
tag:iconada.tv,2023-01-22:3600580:BlogPost:1196827
2023-01-22T15:00:00.000Z
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<p><span style="font-size: 10pt;">ce the times of Western modernity, knowledge is compartmentalized as different fields. This has however, not mitigated the influence of natural science model of theorizing on social sciences. As a result the discipline of organization theory has grown without the influence of abstract, ephemeral and metaphysical fields such as; religion, history, mystic philosophy, arts and literature. With the rise of organizational cultural studies and the emergence of…</span></p>
<p><span style="font-size: 10pt;">ce the times of Western modernity, knowledge is compartmentalized as different fields. This has however, not mitigated the influence of natural science model of theorizing on social sciences. As a result the discipline of organization theory has grown without the influence of abstract, ephemeral and metaphysical fields such as; religion, history, mystic philosophy, arts and literature. With the rise of organizational cultural studies and the emergence of symbolic-interpretive view of organizing during</span><br/> <span style="font-size: 10pt;">the last three or four decades, the trend is however gradually shifting.</span> <br/> <br/> <span style="font-size: 10pt;">Corporate aesthetics is one such</span> <span style="font-size: 10pt;">field within organization theory which places value on the aesthetical aspects of managing and</span> <span style="font-size: 10pt;">organizing. Taking lead from corporate aesthetics, this paper highlights the link between organization</span> <span style="font-size: 10pt;">theory and literature (poetry, both English and Urdu). The linguistic and conceptual instrument of</span> <span style="font-size: 10pt;">metaphors is isolated as the underpinning tool of this link. The role of metaphors in organization theory</span> <span style="font-size: 10pt;">assumes further importance since the emergence of ‘social construction’ and ‘sense making’ view of</span> <span style="font-size: 10pt;">organizations. The paper reinforces the views of contemporary writers of organization theory that the</span> <span style="font-size: 10pt;">field draws from multiple and diverse disciplines by highlighting the link between organization theory</span> <span style="font-size: 10pt;">and poetry through employing metaphoricity.</span> <br/> <br/> <span style="font-size: 10pt;"><strong>INTRODUCTION</strong></span> <br/> <br/> <span style="font-size: 10pt;">Organization theory is drawn from multiple disciplines. These not only include the more obvious, such as</span> <span style="font-size: 10pt;">economics and mathematics, but also the more remote, like philosophy, religion, arts and literature (Hatch, 1997).</span> <span style="font-size: 10pt;">The relation between arts/literature and organization theory is manifested clearly in its emerging field of</span> <span style="font-size: 10pt;">corporate aesthetics. In general terms, aesthetics is defined as “philosophy of beauty” (Langfeld, 1920). It “is the field of philosophy that deals with form, beauty and ugliness, and the sensuous and symbolic dimensions of existence such as arts, music and culture” (Thorpe and Holt, 2008).</span> <br/> <br/> <span style="font-size: 10pt;">Corporate aesthetics are concerned with the knowledge or impression which we get through our senses</span> <br/> <span style="font-size: 10pt;">*Corresponding author. E-mail: zamin.abbas@umt.edu.pk. about a particular organization. Hospitals, for example, are known to exude a particular smell (McAuley et al., 2007). Similarly five-star hotels are associated with a particular environment appealing to our senses, a fragrance, background music played in lighter notes and properly dressed up staffs with name tags and designations displayed are all part of the ‘package’ which one expects from that organization. The idea of corporate aesthetics developed in 1980s is relevant to the study of organizational culture and artifacts (Ramirez, 2005).</span> <br/> <br/> <span style="font-size: 10pt;">Corporate aesthetics are means to project “highly stylized corporate identity”. Many organizations in the world are accumulating art collections. Deutsch Bank is said to have the world’s largest corporate art collection, some 50,000 arts works. They are also stakeholders in the proprietorship of Deutsch Guggenheim art museum in Berlin. Even some military cemeteries are using specialized designs and layouts which exude a sense of “solace and peace rather than depression”. All the corporate aesthetic endeavors are targeted to ‘feel’ the organizational values, beliefs and practices, the pathos underlying an organization’s culture (Hancock and Spicer, 2010). Corporate Aesthetic Management (CAM) is developing as a full-fledged strategic framework. CAM seeks to strategically manage an organization’s range of</span> <span style="font-size: 10pt;">visual and aesthetic outputs. These outputs include; products, logos, company showrooms, building and</span> <span style="font-size: 10pt;">interior, packaging, advertisement and employee uniforms (Schmitt et al., 1995; Hancock, 2005; Teck, 2006).</span> <br/> <br/> <span style="font-size: 10pt;">The whole edifice of marketing is based on the psychological assumption that the semiotic decoding of</span> <br/> <span style="font-size: 10pt;">aesthetic symbols creates a brand image in the minds of consumers (Jones and Bos, 2007). It is through advertisement and various other marketing campaigns that organizations build positive image about themselves and their product offerings in the eyes of the consumers (Karaosmanoglu and Melewar, 2006). The colors, sounds, smells and image which make an organization beautiful, revolting or ugly are included in the field of corporate aesthetics. These and more ephemeral aspects of organizations are more phenomenological rather than substantial because they require time and reflection to be appreciated and are beyond the immediate fleeting moment of consciousness (Dale and Burrell, 2002).</span> <br/> <br/> <span style="font-size: 10pt;">The use of photography in studying organizational culture and behavior and ‘art therapy’ used as a</span> <br/> <span style="font-size: 10pt;">psychotherapeutic technique are also examples of how corporate aesthetics are gaining more and more</span> <br/> <span style="font-size: 10pt;">relevance in the contemporary organization theory (Barry, 1996; Warren, 2002). </span><br/> <br/> <span style="font-size: 10pt;">From the aforementioned discussion, it can be inferred that the field of corporate aesthetics is the artful projection of an organizations’ values. Corporate aesthetics therefore serves as a link between the fields of organization theory, arts and literature. There are numerous ways and instruments that linked the two fields which cannot be captured through one paper. This paper explores only one of such link, metaphors, which are used to convey or impart meanings in both Literature and organization theory. A brief summary of how metaphors are being employed in the two fields are further explained. </span><br/> <br/> <br/> <span style="font-size: 10pt;">(<strong>Organization theory and poetry: A not so elusive link</strong> by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at <a href="http://www.academicjournals.org/AJBM">http://www.academicjournals.org/AJBM</a></span></p>
The Impact of Kung Fu Movies on BreakdancingBy Eric Pellerin(Part 4/4)
tag:iconada.tv,2022-10-23:3600580:BlogPost:1148820
2022-10-23T03:33:20.000Z
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<p>Ken Swift formed his own chapter of Rock Steady in 1996, RSC Seven Grandmasters, based on the Joseph Kuo movie 7 Grandmasters. RSC Seven Grandmasters was a battle clique. Ken Swift, “And that was the elite unit of Rock Steady that was all about win, lose, or draw, battling anybody, going out there to war, and it had the same concept as Seven Grandmasters, going all over the country, doing different styles, fighting and challenging, that’s a little what the movie was about.”</p>
<p>RSC Seven…</p>
<p>Ken Swift formed his own chapter of Rock Steady in 1996, RSC Seven Grandmasters, based on the Joseph Kuo movie 7 Grandmasters. RSC Seven Grandmasters was a battle clique. Ken Swift, “And that was the elite unit of Rock Steady that was all about win, lose, or draw, battling anybody, going out there to war, and it had the same concept as Seven Grandmasters, going all over the country, doing different styles, fighting and challenging, that’s a little what the movie was about.”</p>
<p>RSC Seven Grandmasters were Ken Swift, Honey Rockwell, Mr. Wiggles, Flo-Master, Gizmo, Orko, and Katsu. Representing in Europe were Bruce Wayne and Tony Zoom. Pending to get in at the time were Remind and Crumbs (SEC) and Wicket (Ren). All the members had to train in the other members’ styles and strong points. Kung Fu and B-Boying have many different styles. Each member of the Seven Grandmasters was an expert in their particular style of B-Boying.</p>
<p>Trac 2 told me that B-Boying has never been about an individual, but partners and crews. B-Boys need others to inspire them to advance their skill level and creativity.</p>
<p>The movie 7 Grandmasters also inspired Ken Swift to create a new move. “In the movie, the brother was on the floor, and he grabbed his hands and he pulled and he slid on his butt, and he kicked this dude, I have a forearm glide that I do, called ‘flowing downstream’ that was inspired by the film.”</p>
<p>On March 24, 2001 Koncrete Jungle’s 1st Wu-Shu and B.Boy/B.Girl Dance Challenge was held. The event was presented by the American Wu-Shu Society and Ken Swift Productions. Wu-Shu is the style of martial art practiced by Jet Li. One of Jet Li’s contemporaries from the Zhejiang Wu-Shu professional team, Hu Jianqiang, performed at the event. Master Hu was in Shaolin Temple and Kids from Shaolin.</p>
<p>There was an informal battle between some of the B-Boys and Wu-Shu athletes on the carpet. They were showing each other their skill in acrobatics, and trying to outdo each other. Also, some of the Wu-Shu athletes jumped into the circle to dance. One of the Wu-Shu athletes, Tsuyoshi Kaseda, entered the B-Boy competition and showed everyone his distinctive style. With events like this one, B-Boys and martial artists can exchange ideas and inspire each other in person.</p>
<p>Kung fu films are enjoying a renaissance on the big screen in America. The Chinese language film Crouching Tiger, Hidden Dragon, directed by Ang Lee won four Oscars at the Academy Awards and was awarded praise by both critics and fans. B-Boying has made a comeback appearing in numerous videos. Huge martial arts productions are coming to American movie theaters. Lau Kar-leung’s Drunken Monkey is a throwback to the kung fu films of the ’70s. Jet Li and Jackie Chan both have careers in Hollywood. Li’s Cradle to the Grave co-stars DMX. Hip Hop now directly influences an art form it was inspired by. Kung fu films have been with B-Boying from the very beginning, since the street gangs watched the films on 42nd street. Kung fu movies will always be a part of hip hop culture. <a href="https://www.facebook.com/Hiphoparchivesofficial/posts/the-impact-of-kung-fu-movies-on-breakdancingby-eric-pellerinback-in-the-mid-to-l/1722573897934928/">(Source: https://www.facebook.com)</a></p>
The Impact of Kung Fu Movies on BreakdancingBy Eric Pellerin(Part 3/4)
tag:iconada.tv,2022-10-19:3600580:BlogPost:1148819
2022-10-19T01:42:58.000Z
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<p>The B-Boys that started out imitating their heroes on the big screen eventually got to be in movies themselves, performing their own footwork, kicks and flips in films like Flashdance, Wildstyle, and Beatstreet. Beatstreet features the rivalry between RSC and NYCB prominently in the story line. Kuriaki is doing footwork, and Powerful Pexter says, “You’re biters, all you’re homeboys are biters.” Kuriaki responds, “I ain’t never stole no moves from you, your moves ain’t’ worth to be bit, so…</p>
<p>The B-Boys that started out imitating their heroes on the big screen eventually got to be in movies themselves, performing their own footwork, kicks and flips in films like Flashdance, Wildstyle, and Beatstreet. Beatstreet features the rivalry between RSC and NYCB prominently in the story line. Kuriaki is doing footwork, and Powerful Pexter says, “You’re biters, all you’re homeboys are biters.” Kuriaki responds, “I ain’t never stole no moves from you, your moves ain’t’ worth to be bit, so what’s up with that, punk?” After this exchange of verbal confrontation, the two crews agree to battle each other at the Roxy.</p>
<p>Ken Swift talked about going to Japan to promote Wildstyle on the Wildstyle tour in 1982,”We took Japan by storm, I think they were shook, that movie Wildstyle, was like hard, rugged, rough Bronx. They show burnt buildings, the whole shit, and I think these people were just blown away by this shit that came from those conditions.”<br/> <br/> Ken was amazed that in Japan , American culture had already impressed the Japanese in a big way. He saw 20 Japanese Elvis impersonators where they were previewing the movie. He saw Japanese rock groups including a Japanese Kiss. While the Japanese were emulating American culture, <br/> <br/> American youth was appropriating from Asian culture, and showing the result to an Asian audience for the first time. Ken Swift, “We had to really show the influence of kung fu, martial arts, of kung fu movies in a dance piece, when we went to the Akasaka blitz, in Tokyo , and be in front of Asians, that was strange. We were like, ‘Yo, we’re inspired by these people.’ It was strange, we were concerned, we’re like, ‘how are they going to react to this. ’ I don’t know, the audiences are funny, they can be quiet as hell through the whole show and then at the end, just (claps), and you’re like ‘OK, OK’, you thought they hated it. Some of the audiences are very reserved, everybody really enjoyed it.</p>
<p>After Beatstreet B-Boying, or Breakdancing as it was known to the general public, became a nationwide phenomenon. Two West Coast movies were released, Breakin’, and Breakin’ 2: Electric Boogaloo that featured popping and locking and some b-boying. These movies were produced by Golan Globus, who made movies like Ninja 3: The Domination and later Bloodsport with Jean-Claude Van Damme. Van Damme has a cameo in Breakin’ as a crowd member on the outside of the circle.</p>
<p>Breakin Movie 1.2 B-Boying’s popularity soared and “how to” books and records were released. The dance was exploited and mass marketed for two years, and became the “in” thing. Then in 1985, almost everyone stopped dancing. B-Boying was burnt out from overexposure. Diehard B-Boys kept dancing,</p>
<p>but to the rest of the country it was considered over. Co-incidentally, around the same time, production on traditional kung fu movies ceased in Hong Kong in favor of modern thrillers and comedies. One of the new films was a Breakdance comedy directed directed by Yuen Wo-ping, Mismatched Couples starring Donnie Yen. You can see the influence American culture had on HK at the time.</p>
<p>The moves that were inspired by HK cinema made their way back into the genre they came from in their American B-Boy form. B-Boying also shows up in Drunken Tai Chi and I Will Finally Knock You Down Dad, two of the last traditional kung fu films produced in the 80′s.</p>
<p>In the early 90s B-Boying and the traditional kung fu film both made a comeback. The movie that brought the kung fu film back was Tsui Hark’s Once Upon a Time in China starring Jet Li. The new wave of kung fu films following the success of this film featured different styles of camera angles and editing.</p>
<p>The choreography was enhanced with wirework, which allowed characters to fly. This style was previously seen mostly in swordplay films. Drunken Tai Chi / Once Upon a Time in China</p>
<p>While directors in HK were bringing the kung fu film back, RSC came together with the Rhythm Technicians and Magnificent Force to form Ghettoriginal. This unit produced and performed dance theater about their experiences in B-Boying. One production they performed was Shaolin Temple Hip-Hop that was part of the play Jam on the Groove in 1996.</p>
<p>Shaolin Temple Hip-Hop was a piece that Ghettoriginal put together not to educate people, but as Ken Swift said “It was a bug out skit, lets have fun with our inspiration, one of our favorite inspirations, as B-Boys, that meant so much to us coming up. ” <br/> <br/> They played with the themes in kung fu movies and recreated on stage what might happen in a kung fu film. The main character, Flo-Master (who is a Taekwondo stylist and has studied jiu-jitsu and kickboxing) wants to be like Jackie Chan. He falls asleep while watching a kung fu movie in a theater, and wakes up in his dream. In the dream he is a wanderer. Kung fu movies continued to directly inspire B-Boys in the 90s.</p>
The Impact of Kung Fu Movies on BreakdancingBy Eric Pellerin(Part2/4)
tag:iconada.tv,2022-10-14:3600580:BlogPost:1148618
2022-10-14T22:53:33.000Z
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<p>While serious filmgoers denounced kung fu films, the B-Boys took to the films as their own. Ken Swift explains, “42nd St. was like ‘wow!’, these are subtitled, they’re putting these English voices over, these movies aren’t even made in the States, that’s even more like ’wow!,’ you feel like you’re really a part of something.”</p>
<p>The DJ’s, MC’s, B-Boy’s, and graffiti artists would go to see these films together, and it was a participatory experience. They would get so hyped up during the…</p>
<p>While serious filmgoers denounced kung fu films, the B-Boys took to the films as their own. Ken Swift explains, “42nd St. was like ‘wow!’, these are subtitled, they’re putting these English voices over, these movies aren’t even made in the States, that’s even more like ’wow!,’ you feel like you’re really a part of something.”</p>
<p>The DJ’s, MC’s, B-Boy’s, and graffiti artists would go to see these films together, and it was a participatory experience. They would get so hyped up during the film that they would argue and fight with each other during the film.</p>
<p>After watching the movie, the B-Boys would leave the theater hyped off the energy they saw on the screen from movies like Mad Monkey Kung Fu, Mystery of Chess Boxing, Crippled Masters and many more. Trac 2 and his brother Danny said that kung fu movies are a fever you catch. After seeing martial arts on the screen, they wanted to try it themselves.</p>
<p>Some early B-Boys studied martial arts. Trac 2 took Shotokan Karate for two years. He said that a lot of the early B-Boys studied karate.</p>
<p>Bust most of them just imitated the movements they saw without any formal training. As Ken Swift states,</p>
<p>“Realistically, [we] leave the theater and just want to kick the shit out of people. I mean we would walk uptown and sometimes just kick somebody… You know, we would do a demo on somebody, and start doing exactly what we saw in the movie, not knowing what we were doing, but just imitating it to the max.”</p>
<p>Besides just imitating the kung fu by fighting each other with a Mantis Fist, Monkey style, or Crane style, the kung fu started to find its way into the dance. B-boy KWON of Swift Kids said, “As far as the martial arts goes, that gave a lot of b-boys ideas as far as doing things on the floor and expanding their ideas for movement and bringing out their character.” B-Boys appropriated visually dynamic movements they saw on the screen, and made them their own. The fight scenes in kung fu films were choreographed following a specific rhythm between the performers. The kung fu actors had to follow each other’s movements like dancers. You can see fight scenes being choreographed like this in Jackie Chan: My Stunts.</p>
<p>It was only natural that B-Boys would be attracted to these movements that were close to what they were doing already. Lil’ Lep explained how the kung fu movies directly effected the dance and his crew, the New York City Breakers. “Kung fu movies were important, because we learned from them. You know Flip (Flip Rock AKA Bobby Potts), he does a lot of flips, and they do a lot of flips in kung fu movies. You know my man Chino (AKA Action), he does a lot of flips too. My thing is my swipes, headspins.”</p>
<p>B-Boys would take certain movements they saw in the kung fu films and work them into the dance. Lep brought his own innovation to the headspin. Instead of doing it from a standstill position, he went into the headspin from footwork. He calls this the pencil headspin. In the movies Drunken Master, Killer Army, and Shaolin Temple there are moves when an actor will spin on his head ½ or a whole rotation. Ras, AKA Ray from Floormaster Dancers ( Brooklyn ) said, “Kung fu played a part in my life. You see the styles they had, they spin on their heads, like b-boying, they had windmills, they were doing the helicopter, which is the swipe. We looked at these things, we used it as dance.</p>
<p>Ray learned Aikido in the marines, and loved the way he could manipulate an opponent’s body weight with the Japanese art. It is hard to say if the influence was always direct, or if it happened because of repeated viewing of similar movements and was appropriated subconsciously..</p>
<p>One thing that Ken, Trac, and Lep all brought up when asked how the films influenced them was routines. The elaborate choreography of Hong Kong martial arts movies inspired the B-Boys to choreograph their own routines with two or more dancers. In kung fu movies and B-Boy routines, creativity and constant practice is what makes the choreography. I asked Lep about the choreography he was involved with in the New York City Breakers. “If we didn’t’t do it right, we would have to do it over and over until we got it right, you know, that’s part of being a professional dancer.”</p>
The Impact of Kung Fu Movies on BreakdancingBy Eric Pellerin(Part1/4)
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2022-10-11T07:00:00.000Z
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<p>Back in the mid-to-late 1970s, the earliest power moves of Breaking were created by B-Boy masters living in New York City. One of the biggest influences on the creation of moves like the “headspin” and the “windmill” was the Hong Kong kung fu movie. B-boys watched the amazing physical abilities of their favorite kung fu actors in films by Shaw Brothers, Seasonal Films, and Golden Harvest Studios. They imitated and expanded upon the ritualized combat they saw in these films, adding new moves…</p>
<p>Back in the mid-to-late 1970s, the earliest power moves of Breaking were created by B-Boy masters living in New York City. One of the biggest influences on the creation of moves like the “headspin” and the “windmill” was the Hong Kong kung fu movie. B-boys watched the amazing physical abilities of their favorite kung fu actors in films by Shaw Brothers, Seasonal Films, and Golden Harvest Studios. They imitated and expanded upon the ritualized combat they saw in these films, adding new moves to their dance.</p>
<p>These films were seen in the US, but only in a limited number of theaters in major cities.</p>
<p>In the book Kung Fu: Cinema of Vengeance (1974), Verina Glaser said, “The basis for the success of the kung fu films in the States was the same ghetto audience that carried the wave of ‘black’ Hollywood action films a year or so previously.” In New York City, the two places to see kung fu movies were 42nd Street and Chinatown. Kung fu movies placed the majority of importance on the action, and less time on character development and production values seen in Hollywood films.</p>
<p>There was a big parallel between Hong Kong and NYC. Hong Kong and New York were both densely populated, with a large divide between the rich and the poor. Both cities had high crime rates and tough ghettos. These films were made as escapist fantasies for the people of Hong Kong, and they ended up serving the same purpose for the inner city youth in the United States.</p>
<p>Ken Swift said “Every kung fu movie was like styles, people got they ass whipped, and they went back and got revenge, and it was cool, and that was like something maybe we saw this as kids in the hood, as something we dealt with every day in our lives, you know what I’m saying, dealing with the way we had to live, in school and at home.”</p>
<p>The year was 1971 and America got its first taste of the exciting and dance-like choreography of Hong Kong martial arts films with the Shaw Brothers production King Boxer (AKA Five Fingers of Death) starring Lo Lieh. At this time, Hip-Hop as we know it did not exist. Street gangs like the Black Spades and the Savage Skulls fought each other in the streets of the Bronx for control of turf. Eventually, the pre-rumble dance of these gangs would be incorporated into the Hip-Hop dance known as Up-Rocking.</p>
<p>Trac 2 of Starchild la Rock, a legendary b-boy crew from the seventies, related a story about the gang origins of Up-Rocking. He said that the night before a rumble, the gang leaders had a dance off with each other, one on one. This let everyone in the area know who was going to be involved in the real deal the next day, and anyone else should stay out of the way.</p>
<p>During the time that street gangs in the Bronx were at their peak, kung fu movies became enormously popular in America. After Five Fingers of Death, the films of Bruce Lee were released to great success. The popularity of Lee and his films created a demand for kung fu movies in the United States. Bruce Lee was the most popular kung fu star in the world, and Golden Harvest became the second major studio in Hong Kong. Along with the Shaw Bros. they produced the vast majority of martial arts films made in the British colony. After the death of Bruce Lee in 1973, Hong Kong produced kung fu films that tended to be formulaic until Lau Kar-leung began directing in 1975. He showcased authentic kung fu techniques with films like Challenge of the Masters, Executioners of Shaolin, and The 36th Chamber of Shaolin (AKA Master Killer)</p>
<p>While Lau Kar-leung was directing his debut film Spiritual Boxer, Hong Kong street gangs in New York City were giving way to a more positive counterpart known as crews. Many of the gangs’ former members turned to dancing and block parties as an outlet for their energy.</p>
<p>The most instrumental person in this change was former gang member turned DJ, Afrika Bambatta.</p>
<p>Instead of fighting each other in the street, the B-Boy crews like Starchild La Rock and Rock Steady Crew battled each other with their dance, known as b-boying, breaking, or rocking. Like rival Clans seen in kung fu movies, B-Boys would test each other to see whose style was the best. On the jade screen it was Snake Fist vs. Eagle Claw or Shaolin vs. Wu Tang. On the streets it was the Disco kids vs. Starchild La Rock or Rock Steady Crew vs. the Floormasters. With competition heating up, the next generation of B-Boys took inspiration from different sources to up the ante. According to Trac 2, Latinos added their own flavor to top-rocking, and footwork. He said in 1978 the foundation for modern B-Boy power moves were laid down.</p>
<p>Around the same time in 1978, filmmakers in Hong Kong were revitalizing the kung fu film with sub-genres like kung fu comedy. These movies accentuated more acrobatic movement in their choreography, influenced by the actors and directors training in Peking Opera. Yuen Wo-ping, Jackie Chan, and Sammo Hung all graduated from sifu Yu Jim-yuen’s Peking Opera school and went on to make some of the late seventies’ most dynamic films like Snake In the Eagles Shadow and Knockabout.</p>
<p>Going to see kung fu movies on 42nd St. became a ritual for the youth of New York City.</p>
<p>B-Boys especially took to the films, with their physically dynamic choreography, which was closer to dance than actual combat. Bruce Lee in real life was a Latin dancer. He was the Hong Kong Crown Colony Cha-Cha champion in 1958. In his movies, he does a form of footwork that is very similar to top rocking.</p>
<p></p>
Wu Tang Clan & The RZA: 10 Kung-Fu Movies That Inspired Their Hip-Hop
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2022-10-11T00:36:19.000Z
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<p>By <a href="https://screenrant.com/author/cmcin/">Cody McIntosh</a> Published Jan 16, 2020<br></br></p>
<p><strong>10/10 The 36th Chamber of Shaolin</strong></p>
<p> </p>
<p>UP FROM THE 36 CHAMBERS... IT'S THE GHOSTFACE KILLA. Both the namesake of their debut album, which is not only their most critically acclaimed record, but also definitely the fan-favorite, shortly followed by Wu-Tang Forever and Liquid Swords. It's, of course, a film done by the Shaw Brothers as with many on this list to be…</p>
<p>By <a href="https://screenrant.com/author/cmcin/">Cody McIntosh</a> Published Jan 16, 2020<br/></p>
<p><strong>10/10 The 36th Chamber of Shaolin</strong></p>
<p> </p>
<p>UP FROM THE 36 CHAMBERS... IT'S THE GHOSTFACE KILLA. Both the namesake of their debut album, which is not only their most critically acclaimed record, but also definitely the fan-favorite, shortly followed by Wu-Tang Forever and Liquid Swords. It's, of course, a film done by the Shaw Brothers as with many on this list to be sure. It tells the story of a fictionalized story of San Te, a mythical master of Shaolin martial arts. It also received a more light-hearted sequel, called Return To The Thirty-Six Chambers. If you haven't seen this one, whether you're a Wu-Tang fan or a fan of Kung-Fu movies, this one is an absolute must-watch considering some people think that it very well may be the best Kung-Fu movie of all time.</p>
<p><br/> <strong>9/10 Shaolin And Wu-Tang</strong></p>
<p> </p>
<p>The film Shaolin And Wu-Tang is another really important film to Wu-Tang's history. Anyone who's heard 36 Chambers will recognize this movie considering it's been sampled on "Bring Da Ruckus", "Da Mystery of Chessboxin'", "Wu-Tang: 7th Chamber", "Clan in Da Front", "Conclusion", and "Method Man (Remix). This film also starred the star of the previous film on the list, Gordon Liu. While it's arguably more important than the previous entry since this film is where Wu-Tang took their name from, the previous entry is generally considered the better of the two.</p>
<p><br/> <strong>8/10 Executioners From Shaolin</strong></p>
<p> </p>
<p>Executioners From Shaolin is another Shaw Brothers film from 1977. It follows the story of Hung Hsi Kuan, and a generational struggle that the Shaolin are involved in to take out the followers of Pai Mei, and the lineage that will eventually become the martial arts style known as Pai Mei Kung-Fu.</p>
<p>You might recognize this film as the source of the sample on 36 Chambers that really lets you know "Okay, I'm in for a hype album" when you finally hear that "Tiger Style" sample hit on "Wu-Tang Clan Ain't Nuthing To F' With". This song and this sample let you know that indeed, Wu-Tang should be held at a high regard.</p>
<p><br/> <strong>7/10 Five Deadly Venoms</strong></p>
<p> </p>
<p>Five Deadly Venoms is another Shaw Brothers production about five fighters (the titular 5 deadly venoms) that all fight using unique animal-based Kung-Fu styles, such as centipede, snake, scorpion, lizard, and toad. Each one of these styles have specific attributes that are directly related to the animals they're named after, like the scorpion style character using a kick that is said to be able to paralyze its victims. Since 7 of Wu-Tang's members had served prison time, the RZA decided that the sample from the movie would represent that people were afraid of them, so he plopped it into the beat for the song "Intro (Shaolin Finger Jab/Chamber Music)</p>
<p><br/> <strong>6/10 The Mystery Of Chessboxing</strong></p>
<p> </p>
<p>The name of the song "Da Mystery Of Chessboxin'" from 36 Chambers is a direct reference to the film The Mystery Of Chessboxing from 1979 which has the international title of Ninja Checkmate. The film features a villain known as the Ghostface Killer which is extremely reminiscent of oh wait... Ghostface Killah, duh.</p>
<p>The villain in the film is known for his distinctive 5-elements style and most of the film features our protagonist trying to get an old master to teach him the art of chessboxing, a rather strange sport that features the alternations of rounds of chess with rounds of boxing. A pretty uncreative name for such an odd sport, but it gets the job done.</p>
<p><br/> <strong>5/10 Shaolin Vs. Lama</strong></p>
<p> </p>
<p>Samples from the film Shaolin Vs. Lama appear mostly on tracks from GZA and Raekwon which at first doesn't seem that important to Wu-Tang as a whole, but GZA and Raekwon are two of the most critically acclaimed members of Wu-Tang, releasing the hit albums Liquid Swords and Only Built 4 Cuban Linx respectively. The influence they've had on hip-hop as a genre really can't be overstated. The film tells of a battle between a young Shaolin apprentice who has to learn a new move to defeat the head of a rival gang, who also happens to be a Tibetan Buddhist Lama.</p>
<p><br/> <strong>4/10 The Eight Diagram Pole Fighter</strong></p>
<p> </p>
<p>The Eight Diagram Pole Fighter is yet another entry produced by the Shaw Brothers on our list, and it stars Gordon Liu yet again, as well as Alexander Fu in his very last film appearance.</p>
<p> </p>
<p>The film was released in 1984 and made in Hong Kong. The film is based on some of the ancient legends of the Song dynasty, specifically a text called Generals Of The Yang Family. The RZA said that if he had to pick just one Kung-Fu film that was most important to the formation of the Wu-Tang clan, it'd be this one.</p>
<p><br/> <strong>3/10 Ten Tigers From Kwangtung</strong></p>
<p> </p>
<p>Ten Tigers From Kwangtung is a film that came out in 1979, and was directed by Chang Cheh. It tells the story of rivalries held between the Shaolin and Qing dynasty. It features a ridiculous roster of incredibly good martial artists that you can usually find appearing in a Shaw Brothers film. It's also the classic "Tiger Style" sample in "Wu-Tang Clan Ain't Nuthing Ta F' With".</p>
<p><br/> <strong>2/10 The Four Assassins</strong></p>
<p> </p>
<p>This film cast a western actor in an attempt to garner a larger audience. Another Shaw Brothers powerhouse, The Four Assassins tells the story of historical explorer Marco Polo's time in China (rather inaccurately) as he tries to thwart the 4 assassins that are coming for the Mongolian emperor's life. This film came out in 1975, and the name of the film serves as the title track for a Wu-Tang song.</p>
<p><br/> <strong>1/10 Invincible Armor</strong></p>
<p> </p>
<p>Invincible Armor is a film that The RZA chose to sample explicitly because it's fairly obscure, deciding that by sampling it, hopefully he'd open a bigger audience up to watching one of his favorite Kung-Fu movies. The Invincible Armor is a 1977 film that tells the story of a man's struggle for his honor after he's falsely accused of a crime by a corrupt official.</p>
<p><strong>About The Author:</strong> <strong>Cod</strong>y is an author from Ohio. When he's not writing, he enjoys improv comedy, making music with friends, and consuming whatever media he can. Before working for Valnet mainly on the Screen Rant site, he got his writing experience in doing music</p>
Henri Bergson: The Nobel Prize in Literature 1927 - Banquet Speech
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2020-05-08T03:01:20.000Z
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<p><span style="font-size: 10pt;">As the Laureate was unable to be present at the Nobel Banquet at Grand Hôtel, Stockholm, December 10, 1928, a letter from the Laureate was read by the French Minister, Mr. Armand Bernard</span></p>
<p><span style="font-size: 12pt;">(Translation)</span></p>
<p><span style="font-size: 12pt;">I wish I had been able to express my feelings in person. Permit me to do so through the French Minister, Mr. Armand Bernard, who has kindly consented to convey my message. I…</span></p>
<p><span style="font-size: 10pt;">As the Laureate was unable to be present at the Nobel Banquet at Grand Hôtel, Stockholm, December 10, 1928, a letter from the Laureate was read by the French Minister, Mr. Armand Bernard</span></p>
<p><span style="font-size: 12pt;">(Translation)</span></p>
<p><span style="font-size: 12pt;">I wish I had been able to express my feelings in person. Permit me to do so through the French Minister, Mr. Armand Bernard, who has kindly consented to convey my message. I thank the Swedish Academy from the bottom of my heart. It has bestowed upon me an honour to which I should not have dared aspire. I recognize its value even more, and I am even more moved by it, when I consider that this distinction, given to a French writer, may be regarded as a sign of sympathy given to France.</span></p>
<p><span style="font-size: 12pt;">The prestige of the Nobel Prize is due to many causes, but in particular to its twofold idealistic and international character: idealistic in that it has been designed for works of lofty inspiration; international in that it is awarded after the production of different countries has been minutely studied and the intellectual balance sheet of the whole world has been drawn up. Free from all other considerations and ignoring any but intellectual values, the judges have deliberately taken their place in what the philosophers have called a community of the mind. Thus they conform to the founder’s explicit intention. Alfred Bernhard Nobel declared in his will that he wanted to serve the causes of idealism and the brotherhood of nations. By establishing a peace Prize alongside the high awards in arts and sciences, he marked his goal with precision.</span></p>
<p><span style="font-size: 12pt;">It was a great idea. Its originator was an inventive genius and yet he apparently did not share an illusion widespread in his century. If the nineteenth century made tremendous progress in mechanical inventions, it too often assumed that these inventions, by the sheer accumulation of their material effects, would raise the moral level of mankind. Increasing experience has proved, on the contrary, that the technological development of a society does not automatically result in the moral perfection of the men living in it, and that an increase in the material means at the disposal of humanity may even present dangers unless it is accompanied by a corresponding spiritual effort. The machines we build, being artificial organs that are added to our natural organs, extend their scope, and thus enlarge the body of humanity. If that body is to be kept entire and its movements regulated, the soul must expand in turn; otherwise its equilibrium will be threatened and grave difficulties will arise, social as well as political, which will reflect on another level the disproportion between the soul of mankind, hardly changed from its original state, and its enormously enlarged body. To take only the most striking example: one might have expected that the use of steam and electricity, by diminishing distances, would by itself bring about a moral rapprochement between peoples. Today we know that this was not the case and that antagonisms, far from disappearing, will risk being aggravated if a spiritual progress, a greater effort toward brotherhood, is not accomplished. To move toward such a rapprochement of souls is the natural tendency of a foundation with an international character and an idealistic outlook which implies that the entire civilized world is envisaged from a purely intellectual point of view as constituting one single and identical republic of minds. Such is the Nobel Foundation.</span></p>
<p><span style="font-size: 12pt;">It is not surprising that this idea was conceived and realized in a country as highly intellectual as Sweden, among a people who have given so much attention to moral questions and have recognized that all others follow from them, and who, to cite only one example, have been the first to grasp that the political problem par excellence is the problem of education.</span></p>
<p><span style="font-size: 12pt;">Thus the scope of the Nobel Foundation seems to widen as its significance is more deeply realized, and to have benefited from it becomes an honour all the more deeply appreciated. No one is more fully aware of this than I am. I wished to say so before this illustrious audience, and I conclude, as I began, with the expression of my profound gratitude.</span></p>
<p><span style="font-size: 12pt;">Prior to the speech, Professor Gösta Forssell made the following brief comment: «Henri Bergson has given us a philosophical system which could have served Nobel’s idea as a basis and support, the idea of acknowledging with his Prizes not human deeds but new ideas revealed through select personalities. Bergson’s high-minded works strive to regain for man’s consciousness the divine gift of intuition and to put reason in its proper place: serving and controlling ideas.»</span></p>
<p><span style="font-size: 12pt;">From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969</span></p>
<p></p>
Henri Bergson: The Nobel Prize in Literature 1927 - Award Ceremony Speech
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2020-05-06T13:47:49.000Z
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<p><span style="font-size: 14pt;">Award Ceremony Speech</span></p>
<p><span style="font-size: 10pt;">Presentation Speech by Per Hallström, President of the Nobel Committee of the Swedish Academy, on December 10, 1928*</span></p>
<p><span style="font-size: 12pt;">In his L’Évolution créatrice (1907) [Creative Evolution], Henri Bergson has declared that the most lasting and most fruitful of all philosophical systems are those which originate in intuition. If one believes these words, it appears…</span></p>
<p><span style="font-size: 14pt;">Award Ceremony Speech</span></p>
<p><span style="font-size: 10pt;">Presentation Speech by Per Hallström, President of the Nobel Committee of the Swedish Academy, on December 10, 1928*</span></p>
<p><span style="font-size: 12pt;">In his L’Évolution créatrice (1907) [Creative Evolution], Henri Bergson has declared that the most lasting and most fruitful of all philosophical systems are those which originate in intuition. If one believes these words, it appears immediately with regard to Bergson’s system how he has made fruitful the intuitive discovery that opens the gate to the world of his thought. This discovery is set forth in his doctoral thesis, Essai sur les données immédiates de la conscience (1889) [Time and Free Will], in which time is conceived not as something abstract or formal but as a reality, indissolubly connected with life and the human self. He gives it the name «duration», a concept that can be interpreted as «living time», by analogy with the life force. It is a dynamic stream, exposed to constant qualitative variations and perpetually increasing. It eludes reflection. It cannot be linked with any fixed point, for it would thereby be limited and no longer exist. It can be perceived and felt only by an introspective and concentrated consciousness that turns inward toward its origin.</span></p>
<p><span style="font-size: 12pt;">What we usually call time, the time which is measured by the movement of a clock or the revolutions of the sun, is something quite different. It is only a form created by and for the mind and action. At the end of a most subtle analysis, Bergson concludes that it is nothing but an application of the form of space. Mathematical precision, certitude, and limitation prevail in its domain; cause is distinguished from effect and hence rises that edifice, a creation of the mind, whose intelligence has encircled the world, raising a wall around the most intimate aspirations of our minds toward freedom. These aspirations find satisfaction in «living time»: cause and effect here are fused; nothing can be foreseen with certainty, for certainty resides in the act, simple in itself, and can be established only by this act. Living time is the realm of free choice and new creations, the realm in which something is produced only once and is never repeated in quite the same manner. The history of the personality originates in it. It is the realm where the mind, the soul, whatever one may call it, by casting off the forms and habits of intelligence becomes capable of perceiving in an inner vision the truth about its own essence and about the universal life which is a part of our self.</span></p>
<p><span style="font-size: 12pt;">In his purely scientific account, the philosopher tells us nothing of the origin of this intuition, born perhaps of a personal experience skilfully seized upon and probed, or perhaps of a liberating crisis of the soul. One can only guess that this crisis was provoked by the heavy atmosphere of rationalistic biology that ruled toward the end of the last century. Bergson had been brought up and educated under the influence of this science, and when he decided to take up arms against it, he had a rare mastery of its own weapons and full knowledge of the necessity and grandeur it had in its own realm, the conceptual construction of the material world. Only when rationalism seeks to imprison life itself in its net does Bergson seek to prove that the dynamic and fluid nature of life passes without hindrance across its meshes.</span></p>
<p><span style="font-size: 12pt;">Even if I were competent, it would still be impossible to give an account of the subtlety and scope of Bergson’s thought in the few minutes at my disposal. The task is even more impossible for one who possesses only a very limited sense of philosophy and has never studied it.</span></p>
<p><span style="font-size: 12pt;">At his starting point, the intuition of a living time, Bergson borrows in his analysis, in the development of his concepts, and in the sequence of his proofs, something of the dynamic, flowing, and almost irresistible essence of this intuition. One has to follow every movement; every moment introduces a new element. One has to follow the current, trying to breathe as best one can. There is scarcely time for reflection, for the moment one becomes static oneself, one loses all contact with the chain of reasoning.</span></p>
<p><span style="font-size: 12pt;">In a singularly penetrating refutation of determinism our philosopher demonstrates that a universal intellect, which he calls Pierre, could not predict the life of another person, Paul, except in so far as he can follow Paul’s experiences, sensations, and voluntary acts in all their manifestations, to the extent of becoming identical with him as completely as two equal triangles coincide. A reader who wants to understand Bergson completely must to a certain extent identify himself with the author and fulfil enormous requirements of power and flexibility of mind.</span></p>
<p><span style="font-size: 12pt;">This is by no means to say that there is no point in following the author in his course, for good or ill. Imagination and intuition are sometimes capable of flights where intelligence lags behind. It is not always possible to decide whether the imagination is seduced or whether the intuition recognizes itself and lets itself be convinced. In any event, reading Bergson is always highly rewarding.</span></p>
<p><span style="font-size: 12pt;">In the account, so far definitive, of his doctrine, L’Évolution créatrice, the master has created a poem of striking grandeur, a cosmogony of great scope and unflagging power, without sacrificing a strictly scientific terminology. It may be difficult at times to profit from its penetrating analysis or from the profundity of its thought; but one always derives from it, without any difficulty, a strong aesthetic impression.</span></p>
<p><span style="font-size: 12pt;">The poem, if one looks at it in that way, presents a sort of drama. The world has been created by two conflicting tendencies. One of them represents matter which, in its own consciousness, tends downwards; the second is life with its innate sentiment of freedom and its perpetually creative force, which tends increasingly toward the light of knowledge and limitless horizons. These two elements are mingled, prisoners of each other, and the product of this union is ramified on different levels.</span></p>
<p><span style="font-size: 12pt;">The first radical difference is found between the vegetable and the animal world, between immobile and mobile organic activity. With the help of the sun, the vegetable world stores up the energy it extracts from inert matter; the animal is exempt from this fundamental task because it can draw energy already stored up in the vegetables from which it frees the explosive force simultaneously and proportionately to its needs. At a higher level in the chain, the animal world lives at the expense of the animal world, being able, due to this concentration of energy, to accentuate its development. The evolutionary paths thus become more and more diverse and their choice is in no way blind: instinct is born at the same time as the organs that it utilizes. Intellect is also existent in an embryonic stage, but still mind is inferior to instinct.</span></p>
<p><span style="font-size: 12pt;">At the top of the chain of being, in man, intelligence becomes predominant and instinct subsides, without however disappearing entirely; it remains latent in the consciousness that unites all life in the current of «living time»; it comes into play in the intuitive vision. The beginnings of intelligence are modest and manifestly timid. Intelligence is expressed only by the tendency and the ability to replace organic instruments instinctively by instruments sprung from inert matter, and to make use of them by a free act. Instinct was more conscious of its goal, but this goal was, on the other hand, greatly limited; intelligence engaged itself, on the contrary, in greater risks, but tended also toward infinitely vaster goals, toward goals realized by the material and social culture of the human race. Inevitably a risk existed, however: intelligence, created to act in the spatial world, might distort the image of the world by the modality thus acquired from its concept of life and might remain deaf to its innermost dynamic essence and to the freedom that presides over its eternal variation. Hence the mechanistic and deterministic conception of an external world created by the conquests of intelligence in the natural sciences.</span></p>
<p><span style="font-size: 12pt;">We will find ourselves, then, irremediably cornered in an impasse, without any consciousness of freedom of mind and cut off from the sources of life we carry within us, unless we also possess the gift of intuition when we trace ourselves back to our origin. Perhaps one can apply to this intuition, the central point of the Bergsonian doctrine, the brilliant expression that he uses about intelligence and instinct: the perilous way toward vaster possibilities. Within the limits of its knowledge, intelligence possesses logical certainty, but intuition, dynamic like everything that belongs to living time, must without doubt content itself with the intensity of its certainty.</span></p>
<p><span style="font-size: 12pt;">This is the drama: creative evolution is disclosed, and man finds himself thrust on stage by the élan vital of universal life which pushes him irresistibly to act, once he has come to the knowledge of his own freedom, capable of divining and glimpsing the endless route that has been travelled with the perspective of a boundless field opening onto other paths. Which of these paths is man going to follow?</span></p>
<p><span style="font-size: 12pt;">In reality we are only at the beginning of the drama, and it can scarcely be otherwise, especially if one considers Bergson’s concept that the future is born only at the moment in which it is lived. However, something is lacking in this beginning itself. The author tells us nothing of the will inherent in the free personality, of the will that determines action and that has the power to trace straight lines across the unforeseeable curves of this personality. Furthermore, he tells us nothing about the problem of life dominated by will power, about the existence or non-existence of absolute values.</span></p>
<p><span style="font-size: 12pt;">What is the essence of the irresistible élan vital, that onslaught of life against the inertia of matter, which, according to Bergson’s audacious and magnificent expression, will one day triumph perhaps over death itself? What will it make of us when it places at our feet all earthly power?</span></p>
<p><span style="font-size: 12pt;">However complicated they may be, one cannot escape these questions. Is the philosopher perhaps at this very moment on his way to the solution, certainly as tentative and audacious as his previous work has been and richer still in possibilities?</span></p>
<p><span style="font-size: 12pt;">There still remain some points to clarify. Does he perhaps seek to put an end to the dualism of the image he gives of the world in seeking out a kind of élan vital that applies to matter? We know nothing in this regard, but Bergson has himself presented his system as constituting, on many points, only an outline that must be completed in its details by the collaboration of other thinkers.</span></p>
<p><span style="font-size: 12pt;">We are indebted to him, nevertheless, for one achievement of importance: by a passage he has forced through the gates of rationalism, he has released a creative impulse of inestimable value, opening a large access to the waters of living time, to that atmosphere in which the human mind will be able to rediscover its freedom and thus be born anew.</span></p>
<p><span style="font-size: 12pt;">If the outlines of his thought prove sound enough to serve as guides to the human spirit, Bergson can be assured, in the future, of an influence even greater than the influence he is already enjoying. As stylist and as poet, he yields place to none of his contemporaries; in their strictly objective search for truth, all his aspirations are animated by a spirit of freedom which, breaking the servitude that matter imposes, makes room for idealism.</span></p>
<p><span style="font-size: 12pt;">From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969</span><br/><span style="font-size: 12pt;">* The Nobel Prize in Literature 1927 was announced on November 13, 1928.</span></p>
<p><span style="font-size: 12pt;">Copyright © The Nobel Foundation 1927</span></p>
A Railway Line That Brought Prosperity to the Jungle
tag:iconada.tv,2016-10-02:3600580:BlogPost:514300
2016-10-02T10:20:06.000Z
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<p><span class="font-size-2">THE lines of the Federated Malay States, Straits Settlements, and Johore State Railways have a special interest of their own. They have played a major part in the opening up of a valuable part of the British Empire which, not long ago, was the stronghold of pirates and warrior tribes. The modern history of the country is, in itself, a romance, due to the enterprise of British pioneers and scientists. British Malaya is not “a white man’s country”, but because of the…</span></p>
<p><span class="font-size-2">THE lines of the Federated Malay States, Straits Settlements, and Johore State Railways have a special interest of their own. They have played a major part in the opening up of a valuable part of the British Empire which, not long ago, was the stronghold of pirates and warrior tribes. The modern history of the country is, in itself, a romance, due to the enterprise of British pioneers and scientists. British Malaya is not “a white man’s country”, but because of the enterprise, knowledge, and applied science of the white man it has become of vital importance in the history of modern transport.</span></p>
<p class="Body-Text-2 C-5"><img alt="A mail train of the Federated Malay Slates Railways on its journey from Singapore to Kuala Lumpur" title="A mail train of the Federated Malay Slates Railways on its journey from Singapore to Kuala Lumpur" src="http://www.railwaywondersoftheworld.com/wpimages/wpbfa4f181_05_06.jpg" id="pic_3004" name="pic_3004"/></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">ACROSS THE JOHORE CAUSEWAY. A mail train of the Federated Malay Slates Railways on its journey from Singapore to Kuala Lumpur, a distance of 264¼ miles. The causeway is 60 ft wide, has a length of 3,465 ft, and connects the mainland with the island of Singapore.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">British Malaya is a peninsula extending from Singapore, which is a degree and a quarter north of the equator, to the borders of <a href="http://www.railwaywondersoftheworld.com/siam.html">Siam</a>, nearly seven degrees north. With Sumatra on its west and Borneo on its east, it consists of a narrow tongue of land, 464 miles long, and nowhere more than 216 miles broad, forming the most southerly extremity of the continent of Asia. The surface is mountainous, the highest peak being Gunong Tahan, 7,186 ft; the longest rives is the Pahang, upwards of 330 miles in length. Except in the areas which have been mined or cultivated, a tropical forest covers the whole country, including the hills.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The country is divided up between the Crown Colony of the Straits Settlements, the Federated Malay States, and the Unfederated Malay States. There are four Straits Settlements - Singapore, Penang, and their dependencies, and Malacca and Labuan (an island off the coast of Borneo). The Federated Malay States, comprising Perak, Selangor, Negri Sembilan, and Pahang, are sovereign sultanates in treaty relations with the British Government. They are administered under the advice of a Chief Secretary, subject to the control of the Governor of the Straits Settlements in his capacity as High Commissioner. The Unfederated Malay States of Johore, Kedah, Perils, Kelantan and Trengganu, are also in treaty relations with Great Britain, but they are outside the federation.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Areas and populations are: Straits Settlements, 1,508 square miles, and 1,038,800; Federated Malay States, 27,506 square miles and 1,597,800; Unfederated Malay States, 23,486 square miles and 1,550,300. The total area - 52,500 square miles -is slightly larger than that of England without Wales.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Of the total population of over four millions, about 17,000 are Europeans. There are nearly two million Malays and one and three-quarter million Chinese, the Chinese forming quite an important section, especially in Singapore. The most ancient surviving inhabitants are the Sakais, a dark, brown-skinned race of jungle-dwellers. The Malays, who are the next oldest race, colonized the Peninsula from Sumatra about 500 years ago, and brought to it their own name.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The name “Malay” means a flower called “the mistress of the night”. The Malay is highly spoken of by those who know him. He is suave, courteous, a sportsman, and a first-class boatman, but he does not see any object in continuous hard work. He is a Mohammedan, but his womenfolk have considerable liberty. He has a sense of humour, but actively resents ridicule. If sustained effort is required of him, and if the object of it is explained to him by someone he likes and respects, he will work with cheerfulness, intelligence, and industry. The form of homicidal mania, mengamok, which impels the sufferer to run amok with a kris, neither giving nor asking quarter, is now very rare, as steps are taken to place any subject under control in the early stages of this curious state of frenzy.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">British Malaya to-day is important in the economics of the world, chiefly because of its rubber and tin. The rubber tree was introduced into Malaya in 1876-77 through the Royal Botanic Gardens, Kew, Surrey, from seed collected by Sir Henry Wickham from trees in the Amazon valley in South America. The enormous demand for rubber, resulting from the invention of the pneumatic tyre, and the development of the motorcar, led to the rapid development and importance of the country.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Railway development in British Malaya is different from that in most countries, as the railway was made before the road. In nearly all other countries the jungle paths, trails, and rough roads existed for the railway to follow ; this was not so in Malaya. Once the coast was left, the tropical jungle was seldom crossed by a bridle-path. because the Malays found the waterways adequate for their transport and movement. In the Malay Peninsula the railway pioneered, river launches, generally operated by the railway followed, and the roads came third. The roads developed, and, although recently they have become competitors, they were for many years feeders to the railway.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">To-day the railway system is of great importance. It is possible to travel from Siam to Singapore without a change, as the metre gauge is employed in both countries. A through express service is in operation, twice a week, with dining- and sleeping-cars, between Penang and Bangkok, the journey occupying twenty-six hours.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The total route mileage, at the time of writing, is 1,067, of which seventeen miles are double track. Of this mileage 121 miles of track in Johore are leased to the Federal Railway Administration. The railways run from Singapore, in the south, through Johore, Negri Sembilan, Selangor, Perak, Province Wellesley (included in Penang), Kedah, and Perlis to Padang Besar, on the Perlis-Siamese frontier, 580 miles from Singapore. From Gemas, on the borders of Johore and Negri Sembilan, the East Coast line proceeds northward through Negri Sembilan, Pahang to Tumpat, a port in Kelantan, on the East Coast, 328 miles from Gemas and 465 miles from Singapore. There is also a line nearly twelve miles in length, from Pasir Mas (Kelantan) to the Golok River at the Siamese boundary.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Branch lines connect the main line with railway ports at Malacca, Port Dickson (Negri Sembilan), Port Swettenham (Selangor), Teluk Anson (Perak), and Port Weld (Perak). Steam ferry services are run between Prai (Province Wellesley) and Penang, and between Palekbang (Kelantan) and Kota Bharu. The harbours of Singapore and Penang are served by the main line. Thus all the important towns are connected by rail. The main line, the Port Swettenham branch, and the branch to Sultan Street (in Selangor) are laid with 80-lb rails. The other branch lines, with one exception, are laid with 60-lb rails. The sidings are laid with 60-lb and 46¼ lb section. The sleepers, 6 ft 6-in by 10-in by 5-in, are of local hardwood.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Forty-eight of the 193 locomotives are <a href="http://www.railwaywondersoftheworld.com/tank-engines.html">tank engines</a>. Of the tank type, twenty-eight engines have the 0-6-4, ten the 0-6-0, five the 0-6-2, and five the 4-6-4 wheel arrangement. Of the tender locomotives, which number 145, 116 are <a href="http://www.railwaywondersoftheworld.com/atlantic_to_pacific.html">“Pacifics”</a> (4-6-2’s), nineteen <a href="http://www.railwaywondersoftheworld.com/coming_ten_wheeler.html">4-6-0’s</a>, and ten 2-6-0’s. There are six steam rail-cars with a total seating capacity of 642. The railway owns and operates a number of steam and motor boats. At first all the locomotives burnt wood, but since the opening of the Malayan collieries coal has been used.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The organization is vigorous; it distributes tourist literature throughout the world, and takes the opportunity on the occasion, for example, of a Chinese festival to issue posters in the Chinese language.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">To induce ocean passengers to visit Malaya, the railway has arranged a first-class single fare of twenty Straits dollars (£2 6s. 8d.) between Penang and Singapore. The eastbound traveller whose boat calls at both Penang and Singapore is thus able to explore the delightful island of Penang, take the express to Kuala Lumpur, spend a day there, go on to Singapore and tour that island, and then rejoin his boat. The first-class fare works out at about a penny a mile, an extremely reasonable rate. The charge for a first-class sleeping berth is 4s. 8d., and the cars are divided into compartments, each of which contains one lower and one upper berth.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Books containing coupons for railway journeys for an aggregate distance of a thousand miles are obtainable at reduced prices, first-class being fifty Straits dollars (£5 16s. 8d.), and second-class twenty-five Straits dollars (£2 18s. 4d.).</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The bulk of the goods traffic is, at present, merchandise, this item accounting for 507,122 of the 889,301 tons total of last available published traffic figures. Rubber was next with 219,677 tons; tin and tin-ore, although not in the third place, totalled 32,774 tons, the third place being occupied by coal, coke, and firewood, 93,667 tons.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2"><strong>The Native Employees</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">So rapidly has the development of Malaya followed the pioneering of the railways and the demand for rubber, that the romantic ideas of the nineteenth century about this part of the Empire are out-of-date. No longer does the resident lead a lonely existence in swamp or jungle, surrounded by wild and dangerous beasts, with his throat liable to be cut at any moment by a native, though with the prospect before him of becoming rich in a few months. The business man works from nine to six, just as he does in London, and the junior planter is up at five a.m. to attend the labourers’ muster, and is at work until three o’clock, or so, in the afternoon.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The temperament of the Malay is such that although he makes a satisfactory motor-car driver, and eighty-four of the ninety-five sailors employed for the railway craft are Malays, only nine of the 135 engine drivers are Malays. Out of 2,368, the total personnel, only 478, just over twenty per cent, are Malays, despite the long and continuous efforts of the authorities to train Malays in railway work. In recent years the Malay’s skill as a car driver has militated against the railways, as road competition has become intense.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">For a long time <a href="http://www.railwaywondersoftheworld.com/indian-railways.html">India</a> was the eastern outpost of the railway, as the reputation of the peoples of the Malay Peninsula was such that the country did not seem to invite railway progress. Sailors dreaded the coast, which had a reputation for piracy rivalling that of the Barbary coast.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The relations of Great Britain with Malaya date from 1600, when a charter was granted to the East India Company. Penang was granted to Captain Francis Light in 1786 by the Sultan of Kedah, in consideration for protection against his enemies. Malacca was occupied by the British in 1795, afterwards handed to the Dutch, and later received in exchange. Singapore was founded by Sir Stamford Raffles in 1819. The British policy was one of non-interference, but in 1873 the rivalry of two powerful sects of Chinese miners in the Larut district of Perak caused the British to intervene, and the following year a British Resident was appointed to the Sultanate of Perak to advise on all matters dealing with the administration of the extensive territory excepting religious affairs and native customs. Captain Light, of the East India Company, was a man of ideas. To encourage the wood-cutters in their work of clearing the jungle when he landed at Penang, he flung a bag of dollars into the jungle. In 1791 a force said to consist of 8,000 Malays attacked Penang, but Captain Light, with his 400 men, beat them off. He died three years later, knowing the settlement was flourishing.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">To-day the railway traveller for Singapore takes his ticket at Penang Station, a building with a high clock tower, which is the most imposing landmark in the island of Penang. The passenger first, however, has to take the ferry boat across to the mainland, the railway departure platform being the jetty along which the passenger walks to the waiting launch, which runs to a time-table, in the same way as a train. Another point of difference is that tipping is expressly forbidden on the railways of Malaya - a pleasant surprise to the traveller from India.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The distance from Penang to Singapore is 488½ miles, and a morning and an evening express leaves each terminus. The journey takes about twenty-two hours in either direction. Both Penang and Singapore are islands; but, although the journey begins from Penang by ferry, the railway at the southern end is now carried across to Singapore on the Johore Causeway.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Penang is a hilly island with one peak 2,500 ft high. The top of Penang Hill, on which are a hotel and a number of houses, is reached by a hill railway which starts about three miles from the jetty. This Penang Hills Railway is a cable incline railway about a mile and a quarter in length. The mean gradient is slightly less than 1 in 3, and the maximum is less than 1 in 2. The drive to the cable is through an electrically-operated haulage engine, set at the top of the incline, and the railway is equipped with the necessary automatic safety appliances.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The cable is of sufficient strength to haul about fifteen times the load imposed when the car is carrying its full complement of passengers on the steepest section of the line; and two such cables are capable of lifting a modern express locomotive. The cars, with first- and second-class compartments, seat about forty passengers, There are four trains an hour, and the journey takes about twenty minutes.</span></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong><br/> Destruction by Rainfall</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Construction presented a number of problems; the two most serious being the destructive force of the tropical rainfall and the intense heat. The downpour on the steep slopes of the hill is very heavy and this, combined with the heat, has broken and scoured the surface in a fantastic manner, only the prodigality of the vegetation preventing denudation of the steeper slopes.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">On the upper reaches there are precipitous rock-faces; below these the hill is furrowed by gorges littered with boulders. These conditions compelled the engineers to build a solid granite causeway throughout the length of the line, the grade being formed of a succession of viaducts and cuttings. The lower station is in the Ayer Etam Valley, about half a mile from the famous Chinese temple of Loong Kong Cheng. Leaving the station, the line passes over a viaduct crossing one of the boulder-filled gorges, and then passes a smaller Chinese temple. A short distance beyond this point the viaduct carrying the track reaches its maximum height of 50 ft, and negotiates some enormous boulders. One boulder is estimated to weigh more than 12,000 tons.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">After crossing the 500 ft altitude mark, the track forms two loops, and at 550 ft the ascending and descending cars pass one another. Continuing upward the incline strikes through a yawning cutting having a maximum depth exceeding 60 ft. Emerging from this, the line runs on to a viaduct spanning a small gorge, the floor of which is more than 100 ft below the line, and then runs into the Middle Station, where the passengers change cars. This section lifts the passenger to a height of 1,160 ft, and the station affords magnificent views.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">A short distance beyond the station the line skirts an immense inclined boulder, and then crosses one of the largest gorges traversed on the railway. Huge boulders are strewn over the floor of this gorge, and the selection of foundations for the supporting masonry piers among this mass of rocks involved diligent search. Cleaning the gorge, the line enters a cutting and emerges upon another viaduct, set on an easy curve. At the end of this is the loop for the passing cars; then comes another deep cutting, at the top of which some of the precipitous rocky slopes of the hill on either side of the line can be seen. The line continues, by cutting and viaduct alternately, to the toot of the spur of the hill. This is so abrupt and lofty that a tunnel had to be made on a gradient of 1 in 2.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">After leaving the tunnel, which is lined with concrete, the line crosses another viaduct into the Upper Station, at an elevation of 2,390 ft. The view is excellent, a hundred miles of coastline being visible, and stretching from beyond Kedah Peak on the north to the south of Gunong Bubu, in Larut. Directly opposite rises Gunong Bintang on the boundaries of Upper Perak; while the whole of the eastern coast of the Island of Penang, with its harbour, lies almost immediately below.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The port on the mainland to which the railway ferry boat takes the passenger is Prai. The first twenty miles on the journey to Singapore are through Province Wellesley. To the east are seen the hills of the main range. The train proceeds through rice-fields, coconut palms, and rubber plantations, crosses the Krian River, the boundary between the British province and Malay territory, and proceeds through Parit Buntar and more rice-fields.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Near Parit Buntar the passenger glimpses in the distance to the south the twin peaks, 5,434 ft high, of Gunong Bubu (Mount Fishtrap). According to a Malay legend a giant used to let down Mount Fishtrap into the River Perak, and lift it up again full of fish. Another explanation of the name is that the shape of the mountain top renders it difficult to climb, and more difficult to leave, like a fishtrap.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The country here is served by the Krian irrigation scheme, a shallow reservoir of about ten square miles having been created. The last railway station in this rice area is Bukit Merah (Red Hill), which is nearly forty-one miles along the route, where the train runs on a bank across the reservoir. The line next passes through a sparsely populated region of small hills, and goes on to Taiping, fifty-nine miles, the headquarters of the British administration of the State of Perak. Admirers say it is the most beautiful town in the Peninsula.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Taiping lies in the centre of the Larut plain, where tin has been mined for over half a century, and is also a centre for rubber estates. There is a branch railway to Port Weld, on the coast, this line being seven-and-a-half miles long. The branch was the first railway in Malaya, being opened in 1885.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Beyond Taiping the main line leaves the mining plain, and climbs a pass in the hills towards Kuala Kangsar, seventy-eight miles through beautiful scenery. This town is the scat of the Sultan of Perak. The pass at Bukit Gantang, when the line was being built, was a haunt of tigers, several being shot by the engineer-in-charge. The line is still favoured by tigers. One night, some years ago, a tigress and two cubs walked along the line to the platform of the station and lay down under the ticket window of the booking office. When she had rested, the tigress rose and walked off, with a cub either side of her.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Elsewhere wild animals no longer interfere with the railways, but in the early days this was not always so. One train was going through a lonely stretch of country when the driver and fireman felt the engine give a violent jerk. The next instant they were flung to one side as the engine left the rails. They crawled out, to find that the engine had been derailed by a wild elephant which had stood in the track to dispute the right of way with the train. The elephant was dead, but it had caused serious damage to the train and the track.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The railway climbs to the top of the Bukit Gantang Pass through several tunnels, and where it emerges from one tunnel, and crosses a bridge spanning a gully, there is a good view of Gunong Pondok and the valley of the Perak River. The line runs along the foot of Gunong Pondok, a tree-clad limestone rock 2,000 ft high. It is the haunt of the serau, a species of goat-antelope, which is black and shaggy, with horns, hoofs, and a wicked eye which has caused it to be likened to old pictures of the devil. There are many limestone caves on the hill, inhabited by swarms of bats. After the hill has been passed, the railway passes rubber plantations and reaches Kuala Kangsar, on the Perak River.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The commercial capital of Perak is Ipoh, 112½ miles, which is a big centre for the tin-mining industry. The finest limestone scenery in the country is in this district, and the rock temples are famous. The dry air of the neighbourhood makes the town more invigorating than any other in the Peninsula.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The line runs south from Ipoh, through Tapah Road, 145 miles, from where a branch line runs to the Perak River port of Teluk Anson. After Tapah Road the main line proceeds through jungle country to Tanjong Malim, 188½ miles, where the train leaves the forest, and crosses the Bernam River into the more open country of the State of Selangor.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">This part of the railway journey to Kuala Lumpur, 242 miles, affords a variety of scenery - bamboo jungle which has sprung up where the virgin forest has been cut down, abandoned mines, open-cast mines, mines where jets of water at high pressure are used to mine the red hillsides, rubber estates, and little brick-built towns, each with a railway station.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Kuala Lumpur, where the express stops for several hours, is a garden city, and the administrative capital of British Malaya. In 1872, when it was a Chinese town with two streets, the local ruler paid cash down in the market place for the heads of his enemies.</span></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong><br/> Modern Workshops</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The central workshops of the railway near Kuala Lumpur are equipped with modern machinery. Here the rolling-stock is made, and the locomotives, which are generally built in Great Britain, are erected. The line, which was built to serve the workshops, continues to a stone quarry. Beyond are the Batu Caves, which attract tourists.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Kuala Lumpur is linked with Port Swettenham by a line which is twenty-seven miles in length. The port, even younger than the capital city, dates from 1901, and was made with the aid of the railway. The line formerly ended at the town of Klang, and the site of the proposed port was a tidal flat covered with mangroves growing in mud and salt water. The line was therefore extended to the mouth of the Klang River. Thousands of truck loads of earth were carried over the line and dumped along the sea-front, where a passenger jetty and three wharves to carry railway trucks were built.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The jetty is on screw piles, but the wharves rest on cylinders driven into the mud, the deepest going down to 132 ft. During construction and afterwards, the port was a very unhealthy spot, but soon governments in all parts of the tropics began to apply the knowledge scientists had gained of overcoming malaria. The Selangor Government put a bund round the site to keep out the sea-water, and provided gates in this through which rain-water was drained. When the site was drained and dried, the malarial mosquitoes had no breeding pools. The methods were followed with an interest that was world-wide, and the work is a classical instance of the healthy results obtained when medical scientists and engineers combine in building a town on what was once a deadly swamp.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Returning to Kuala Lumpur and resuming the journey, the traveller proceeds through the pretty village of Kajang and on across the border into the State of Negri Sembilan. The name means Nine States, and is reminiscent of the old days before British Protection fused nine little Malay princedoms into one State. Seremban, headquarters of the Government, is 288 miles on the journey from Penang, and is a couple of hours’ journey from Kuala Lumpur. It is the junction for a branch line, twenty-five miles long, to the health resort of Port Dickson, which has one of the few sand beaches on the west coast of the Peninsula.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The next section of main line, some thirty miles - to Tampin, 318 miles, which is the junction for Malacca - passes through tin and rubber country at first, and then runs through the district of Rembau. This district, in common with certain others in the State, has the peculiarity that all the land is held by women, who are unable to sell it except by consent of a family council. These natives do not grow trading crops, such as coffee, rubber, or coconuts. They produce for themselves in their rice-fields and orchards. These they have created out of the jungle, and the fields look attractive from the railway.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Tampin is the junction for the line, twenty-one miles long, to Malacca. It is said that the scenery between Tampin and Malacca is the most beautiful to be seen from any train in Malaya, with distant blue hills, rice-fields, orchards, and every now and then a river or pond full of lotus plants. Malacca remembers its historic past, with its relics of Portuguese, Dutch, and British adventurers. To return to Tampin and the main line—usually the passenger for Singapore on the morning express from Penang turns into his sleeping berth after Seremban, the temperature falling at night to a refreshing coolness. Soon after leaving Tampin the line leaves the province of Malacca and travels into Negri Sembilan again, leaving this State at Gemas, 351½ miles, and entering the State of Johore. This section is not very interesting.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>The City of Singapore</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Gemas is important because from this town begins the East Coast railway which goes north for some 328 miles through the States of Pahang and Kelantan to Tumpat. The main line to Singapore proceeds through the State of Johore, and at Johore Bahru, 472½ miles, crosses the causeway to Singapore, the train crossing in the morning and steaming into the great port of Singapore, 488½ miles, which is on the south side of the island. On the morning express from Penang the restaurant car is taken off at Kuala Lumpur, and a parlour car and sleeping-saloons are attached instead.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Singapore is a port of world importance. Its early history rests upon a tradition that some Malays settled there about 1360, but the settlers were killed some seven years later by invaders from Java. In 1703 it was offered by the Rajah of Johore as a present to Captain Hamilton, who declined it. In 1819 Sir Stamford Raffles signed a treaty by which the Johore plenipotentiaries ceded Singapore. For many years it was a source of supply to the Malay pirates, who preyed on vessels bound to or from the port; but with the advent of steam vessels, which did not depend on the wind, the pirates were checked. The development of the railways, giving communication with those of Siam, has added greatly to the strategic importance of Singapore. Bangkok, the capital of Siam, is within fifty hours of Singapore and within twenty-seven hours of Penang.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The British Government realized from the beginning when it began to control Malaya that no other single force would exercise such a powerful and permanent steadying influence and lead to such rapid development as a system of railways. A constructional programme was therefore prepared with the purpose of building through the length of the country a continuous line, provided with lateral branch lines as occasion and traffic required.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">This scheme was influenced by the fact that in Siam, a country friendly to the British development of Malaya, a scheme was in progress which would eventually take the railways to the borders of British Malaya.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">But although the scheme was easy on paper there were many difficulties to be overcome. The Peninsula, covered with dense forest and jungle, was intersected by ranges of hills and mountains, between which the waterways make their winding ways east and west. As already stated, these rivers were the main arteries of native travel, and roads in the ordinary sense did not exist. Such tracks as were found proved to be ill-defined bridle-paths. Because of the heavy rainfall the vegetation is luxuriant, and the conditions were bad for Europeans. The decaying seasonal vegetation and the swamps, steaming in the heat. formed a gigantic hot-house and forcing ground for the germs of fever.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">So far as supplies of material and food were concerned the country was almost barren. When the railway pioneers began, the Malays had not become accustomed to peaceful conditions, and although they produced enough food for themselves they had none to spare, also their produce was not suitable to the support of white men in the tropics.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The food problem was a vital one, and monotony of diet was one of the problems that the pioneers had to solve. Driving roads through the jungle became a task in itself. The sodden, swampy ground was too treacherous to support the weight of a loaded vehicle until a corduroy road had been made, so that before anything could be done a rough highway had first to be made, and this took time. and was attended with many troublesome breakdowns. Except for timber, every ounce of material had to be imported from Great Britain, involving a sea journey of 8,000 miles.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>Opening of the First Line</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The first line, less than eight miles in length, was that already mentioned, from Fort Weld, on the west coast, to Taiping, which was opened on June 1, 1885, and assisted and stimulated the tin-mining industry.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">About the same time another line, farther south, from Klang, six miles up the river, was begun to Kuala Lumpur, also to develop the tin-mines. The line was opened in 1886, the future capital of Kuala Lumpur being in those days a typical mining camp.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Railway construction went on steadily according to plan. The southern section crept northward from Kuala Lumpur to Kuala Kubu. About half-way between Klang and the original line from Port Weld, another track was laid inland from Teluk Anson Wharf, while north of Port Weld a beginning had been made with two lines, the most northerly of which was the one from Port Prai, opposite Penang.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">By the end of 1901 fair progress had been made, a total of 244 miles of track having been built. A general manager and a chief engineer were appointed, but both died in harness within a few weeks of each other early in 1903, and a third Briton was appointed to the dual post of general manager and chief engineer. In 1903 the initial sections of the line were linked up, giving a network of 340 miles, and affording through connexion from Penang in the north to Seremban in Negri Sembilan.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">When this first section of the trunk railway was completed, efforts were concentrated upon linking it with the base of Singapore, and an agreement was concluded with the Johore State Government. The construction of the Johore State Railway was taken in hand, beginning northward from Johore Bharu, which is on the mainland opposite the island of Singapore.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Moving northwards from this point, the surveyors experienced many adventures. The intention was to make the line as straight as possible along the route of 120 miles to the boundary of Negri Sembilan, and the surveyors, who set out in March, 1904, had to tramp for a hundred miles through virgin jungle. Once they were beyond Johore Bharu there were no means of communication, and progress was reduced to a crawl. All the supplies for the survey party had to be brought up from the base by carriers, as the route lay through the jungle for nearly the whole way.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">When the constructional engineers set off to follow the line of stakes they were also handicapped by the lack of transport facilities. They made roads, and corduroyed them repeatedly, to support the heavier traffic between the camps. The heavy atmosphere in the depths of the forest was exhausting to the white men. The torrential rain hampered movement, and caused the rivers to overflow. Swamps, which could not be avoided but had to be crossed, swallowed spoil and ballast greedily.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The labour of cutting the timber to make the track through the jungle was heavy. The density of the jungle, and the speed with which vegetation grew, made it essential to cut a swathe 100 ft wide on either side of the single track. Most of the trees were not of soft wood, but were hard-grained, some being of large girth. These trees provided plenty of work for the lumbermen, and they were turned to use. The trunks provided material for construction. The best timber was set aside to be taken to the railway shops to be used for building rolling-stock; the shorter, thick odds and ends of logs were stacked in piles to serve as fuel for the locomotives; while branches and trees which were of inferior wood were used for corduroying the roads. The clearing of the right of way was thus profitable, very little of the felled timber having to be disposed of by burning.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">When the soil was laid bare, the railway builders found that the outlook was not attractive. The ground was streaked with rotten laterite, decayed granite and sandy clay, and was thoroughly saturated. When an embankment was raised the problem was to keep it in position, or safeguard it against obliteration by a landslide.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>Abandoned Territory</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">So unstable was the soil that rain would set up an earth movement. The right of way was, therefore, made wider than usual to secure protection against disruption, and effective draining proved the best safeguard against landslips and subsidences in the embankment. Lallang grass was planted on the slopes, because the fibrous roots tend to bind the unstable earth and keep it in place.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The rivers and streams are numerous, and, after a heavy rain they change from insignificant waterways to menacing torrents. Culverts sufficed for the creeks, although they had to be introduced freely, averaging about four to the mile, but the larger streams had to be bridged. As far as possible bridges are standardized throughout the Peninsula with spans of 100 ft and 150 ft, so that the longer bridges are multiples of these two units. On the section from Johore Bharu to Seremban forty-nine bridges, of which nineteen exceed 100 ft in length, were set up. The heaviest work was encountered in crossing the Muar and Segamat rivers, the Muar requiring a bridge of five spans, and the Segamat one of three spans. Other streams were crossed by single or double-span bridges.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">At formation level the road, although the track is of the metre gauge, was built to be adequate for the standard gauge of 4 ft 8½-in should the change ever be necessary. The ruling gradient is 1 in 100, with minimum curvature of 1,910 ft radius, to ensure economy in haulage and train speeds of up to forty miles an hour. Since the main line track was laid with 80 lb rails, it was, when it was opened for traffic, the heaviest metre gauge track in the world, operating the largest rolling-stock and heaviest locomotives built to that gauge. The locomotives weighed nearly 75 tons in working trim, and were 57 ft 11-in in length over buffers. They had cylinders 15½ by 24-in, working at 180 lb, and driving wheels of 4 ft 6-in diameter.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">While this southern section was being built in the State of Johore, the northern section was being built southwards from Seremban to the inter-State boundary at the Gemas River. Although this section was only sixty-three and a half miles compared with the 121 miles of the other, it presented abnormal difficulties. For the first few miles from Seremban progress was comparatively easy, threading abandoned mining country first, and then coffee and rubber plantations. The track then passed through stretches of paddy fields, interspersed with patches of jungle, abandoned tapioca estates, and forest. These signs of settlement and development became scanty thirty-one miles from Seremban and disappeared entirely at the fifty-first mile. The remaining twelve miles or so to the Gemas River were through dense jungle which extended almost unbroken and was inhabited only by wild beasts. It was not the jungle but the gradient which was the difficulty.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The section from Seremban gave the surveyors much anxious thought, as the tail end of the mountain range which cuts across the Peninsula, presses somewhat closely upon the coast. The first plan was to carry the line to the border by way of Kuala Pilah, the headquarters of a district of Negri Sembilan. This would have involved the negotiation of the Bukit Putus Pass, 950 ft above the sea, and the climbing of 450 ft with a maximum gradient of 1 in 47½. Apart from the severity of the ruling gradient, heavy tunnelling and viaduct work would have been involved. Therefore, this route was abandoned.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The second location to be considered was through the Pabai Pass. This was more attractive than the first proposal, as the gradient could be kept down to 1 in 100, despite a vertical climb of 400 ft. But here again the heavy tunnel and viaduct work was prohibitive. It was evident that the project of carrying the line by way of Kuala Pilah, however desirable it might be, could not be achieved except at great expense. The idea was therefore abandoned, and the surveyors were given a freer hand.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">There was no necessity to traverse the mountain country, which could be avoided by turning the line by way of Tampin and Batang Malaka. This alternative was carried out. In the neighbourhood of Tampin the surveyors were perplexed by the overlapping of the foothills of the mountain ranges, and by the broken character of the jungle fringing the Gemas River. Extensive surveying was necessary, because of the lack of means of communication. About 190 miles of trial lines had to be run by the surveyors, exclusive of the sixty miles previously carried through the Bukit Putus and Bukit Pabai passes, before the present route of sixty-three and a half miles could be plotted.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>A Great Trunk Line Built</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The survey of this section began towards the end of March, 1902, and was not completed until May, 1904; but the pathfinders gave a location with a ruling gradient of 1 in 100, and minimum curves of 1,910 ft radius, thus complying with those of the southern section in the State of Johore, although the curves had to be introduced somewhat freely to avoid heavy cutting and filling.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The railway builders began in July, 1903, and took the rails from Scremban Station towards the Malacca State boundary at Tampin, where a junction was effected with the branch to the port of Malacca. This branch line was opened for traffic in December, 1905. The main line was completed to Gemas and opened for traffic as far as this station; but not the short stretch of 1,147 yards to the boundary, beyond the station. This was held up, because the Johore State Government wished the railway to be opened through its territory in complete form, instead of section by section.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">For this reason, the first seventy miles of railway out of Johore Bharu, although ready for traffic by August, 1908, were not brought into immediate service. The section to the Gemas River was pushed forward with all speed. On July 1, 1909, the whole of the railway through Johore was brought into service, and through communication was thus established with Penang.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">By this date the whole Peninsula, with the exception of the less accessible State of Pahang to the north, was provided with a railway backbone. The jungle was subdued. The country was provided with a great trunk line, as well as a number of short lines running to the coast from important centres, and tapping all promising and productive zones.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Although Johore Bharu was the southern terminus of the railway, it was on the mainland, and not on the island of Singapore. To make contact with the great port without transhipment, a freight-car ferry system was organized between the terminus on the mainland and Woodlands, a station on the island. From Woodlands the trains of the Singapore Government Railway ran across the island to the port and city. Passengers were taken across the straits in launches.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">This system had obvious disadvantages, and the work of building a causeway to carry the railway and a road was put in hand.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">As early as 1904, it was suggested that the straits should be bridged, but this, and other suggestions, had to be put aside for years, and it was finally decided that a rubble causeway should be substituted for a bridge. The official inauguration of the causeway works took place in April, 1920, when the Governor deposited two barge loads of rubble in the centre of the straits. The ceremonial opening was performed in June, 1924, by the Governor in the presence of the Sultan of Johore and the rulers of the Federated Malay States.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The causeway is 60 ft wide at the top, and carries two tracks of railway and a 26 ft roadway. The total length is 3,465 ft. The greatest depth crossing the strait is 77 ft, the average depth of water at low tide being 47 ft. Provision was made at the Johore end of the causeway for the passage of small local craft by the provision of a lock, 510 ft long from end to end. The lock is provided with a double set of gates spaced 170 ft. apart, with a width inside the gates of 45 ft., and outside of 32 ft. This lock has been crossed by a Scherzer roller bridge with three girders. The bridge is 57 ft total width, and carries two lines of railway, and a clear roadway of 24 ft 6-in. The lift bridge, weighing 570 tons, and the tide gates are operated electrically. In the construction of the causeway a total of 1,641,712 cubic yards of granite was used.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>A Link with Siam</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The work of providing the trunk line with feeders was pursued during the construction of the main line and afterwards. The fifteen miles branch from Ipoh, in Perak, to Tronoh, which serves the Kinta Valley tin-mines, was built in 1905. The same year the branch line from Kuala Lumpur to the railway workshops and to Batu Caves (five and a quarter miles), where ballast material was quarried, was constructed. Another short line was run out to the tin mines at Ampang. A branch from Kuang to Batang Berjuntai, fourteen miles long, taps the coalfield, the coal being used by the railway.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Once the main line from Prai to Johore Bharu was completed, the railway builders turned their attention to the northern part of the Peninsula to carry out the project of linking up with the railways of Siam. The line from Prai was picked up at Bukit Mertajam, which is about seven miles from the port, and was advanced northward into the State of Kedah, reaching the capital, Alor Star, in 1915 - sixty-three miles from Prai. The engineers pressed forward, carried the line into the State of Perlis, and proceeded to the northern frontier of the Federated Malay States at Padang Besar, which is 105 miles from Prai. Here the line joined that of the same metre gauge which had been brought down through Siam, thus providing a line linking Bankgok with Singapore.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Before the rails met, the alert authorities had visualized the effect the junction would have on sea-borne traffic. It was not economic to move Siamese traffic to or from Singapore, or even Port Swettenham, if a more suitable shipping point nearer the Siamese border, and available for ocean-going vessel, could be found. The obvious port was Prai, but in its condition at that period the port needed improvements. The chief engineer and general manager of the railway therefore recommended a comprehensive scheme of development which would enable large ships to berth alongside the wharves and load and unload into railway wagons direct or into transit sheds. In 1914, before the rails of British Malaya had met those of Siam, the Malayan authorities had decided to adopt this plan. But the outbreak of war delayed the beginning. In 1917, however, when extensive dock works had been completed at Singapore, the plant used for this work was released; so the contractors brought it north to Prai and the work began in May, 1918.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The work included the construction of a reinforced concrete jetty, 1,100 ft in length, at the mouth of the river; the continuation upstream of the existing wharf for 600 ft, and beyond a coal wharf 900 ft long - a total wharf frontage of 2,600 ft, with a minimum depth of 30 ft of water for vessels alongside. Work also included a lighter basin 1,100 ft long with a minimum depth of water of 16 ft; dredging and deepening the main channel and approaches to a depth of 30 ft and a width of 500 ft; and, finally, the reclamation of nearly 200 acres of swamp, fringing the river, with the foreshore.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>Enlarging a Modern Port</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">As little was known of the site before the coming of the railway, exhaustive surveys and borings were essential. The river-bed was the critical factor, and this was found to comprise a thick layer of mud upon an extensive stratum of sand, encountered at an average depth of about 55 ft below low water. The depth of this underlying sand remained problematical until 1917, when it was found to extend downwards for 270 ft under the silt - 315 ft below low water - to be of varying degree of coarseness, and to rest upon a hard, igneous rock.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">It was decided to use the sand as the foundations for the wharves and jetty, and a specially massive design of ferro-concrete structure, supported on concrete cylinders sunk through the mud, was adopted. The cylinders, with an external diameter of 8 ft 6-in, are set in forty-five rows, spaced 25 ft apart, centre to centre, with seven cylinders to each row, and spaced 22 ft apart, centre to centre, over a depth of 142 ft. These support the heavy ferro-concrete superstructure forming the deck of the wharf and jetty. On this are carried the cranes for loading and unloading vessels, the sidings of the railway with a turntable at either end, and the usual additional mechanical handling appliances.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The coal wharf and widening, extending upstream for 1,500 ft, follow the concrete block wall design. This wall is protected against the scouring action of the river by an apron of rubble extending from the toe of the wall for a distance of about 35 ft.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The widening and deepening of the main channel and approaches was the largest individual item of the enterprise. This work entailed the removal, by dredging, of 2,250,000 cubic yards of material from the river-bed, in addition to which silt accumulating during the progress of the work was removed. The silt was a formidable factor, as the river brings down an immense quantity of soil in suspension, and deposits it at this point where the flood tide from the sea checks the current of the river, causing the matter in suspension to be deposited. The spoil brought up by the <a href="http://www.shippingwondersoftheworld.com/dredgers.html" target="_blank">bucket dredgers</a> was loaded into lighters of 350 cubic yards capacity. These lighters, when filled, were towed to the reclamation site, and there discharged by means of pumps on to the low-lying swamps fringing the bank and the foreshore. A retaining wall was erected to hold the deposited spoil in place.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Special arrangements were adopted for draining this water-logged mud, the area being subdivided into sections for the purpose. The sections permitted the mud to settle, and the superfluous water was drawn off from one section while another was being charged. During the dry season the settling of the mud, draining of the water, and the consolidation, or drying, of the material was fairly rapid; in wet weather from six to twelve months had to elapse to allow the material to be hard enough to allow of movement upon its surface. When the scheme was completed the terminal port of Prai became one of the finest and best equipped along the western coast, north of Singapore.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Thus the railway conquest of the Federated Malay States was carried out along the western coast. This side of the Peninsula is the more densely settled and is more easily accessible.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The eastern state of Pahang, however, differs markedly, the chain of mountains cutting it off from its neighbours. Because of this and the fact that in building a railway in an undeveloped country the first lines are built where they are most urgently required and where the traffic will justify them, the east coast was left until the western seaboard railway system was adequate.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">When this was so the railway engineers turned their attention to providing the east side of the country with lines to facilitate settlement, and to provide a link with the interior.</span></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong><br/> At the Frontier</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Work began in the north-east corner, in the State of Kelantan, this point being selected because the Siamese State Railway system had pushed its rails to the frontier at Sungei Golok. Far away to the south work began also at Gemas, where, as we have seen, the original system, crosses into the State of Johore. The first thirty-two miles of the northern division out of Tumpat were opened for traffic in 1914, while the southern section had been advanced 146 miles from Gemas well up into the State of Pahang. The work advanced with many interruptions on this East Coast Railway, and the lines met in 1931. This achievement resulted in a 328 miles length of line from Tumpat to Gemas and 465 miles from Singapore. A line thirteen miles in length branches off from Pasir Mas, a station about fifteen and a half miles south of Tumpat, to the Goluk River, on the Siamese border, where the Siamese Railway links with it. By means of the junction at Gemas, this East Coast Railway is connected with the ports on the west coast. There are thus two connexions with the Siamese railways, one being at Padang Besar on the western side, and the other at Rantau Panjang on the eastern side.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The construction of the East Coast line cutting diagonally across the Peninsula from Gemas was difficult, because of the obstacle of the mountains. The pathfinders tried to obtain a line that would conform in gradient and curves with the lines already built, but the quest was tantalizing. In accordance with general practice, the surveyors endeavoured to turn the courses of the streams to account. They followed one river here, crossed another there, and picked up another elsewhere, as far as the watershed, and then followed a similar practice down the opposite slope. In this manner the surveyors brought back proposed locations conforming to the general scheme of the railways - no gradient steeper than 1 in 100, and no curve of sharper radius than 1,910 ft.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">In the search for an easy gradient, the first trial line was run from Gemas Station up the valleys of the Muar and Serting rivers for thirty-two miles. Then it struck almost due north, crossing the Triang River, to pick up the Pahang River, to which it clung for six miles to the junction of the Semantan and Pahang rivers at Temerloh. But this line had the disadvantage of requiring heavy development work between the fourteenth and twenty-fifth mile-posts, so an alternative line was driven. This avoided tunnelling, but introduced sharper curves to round the spurs thrusting themselves upon the Muar River, and also heavy bridging, although the gradient was maintained. Also, the deviation increased the length of the line by two miles. Although this second route would have cost nearly £10,000 a mile it was cheaper than the first.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Further consideration of the surveys induced the chief resident engineer, in charge of work in the field, to try to find a third route. He instructed the surveyors to explore the lie of the land farther to the east, with the result that a third and superior line was adopted.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">This abandons the original alinement altogether upon leaving Gemas Station, bearing more to the north, and crossing the Muar River near the sixth mile-post. After leaving the river it swings towards it and then turns away again. At the twenty-third mile it crosses the Bahau and Serting rivers, and the Triang River at mile 55½. The Pahang River is approached, but not crossed, and at Temerloh, seventy and a half miles from Gemas, the temporary railhead was planted. This location reduced the mileage by about eight miles, eliminated all heavy work, and pulled the costs down to £7,990 per mile, inclusive of rolling-stock.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The surveyors found the country sparsely populated. Two miles from Gemas they discovered a small native village, or kampong, of about forty people, engaged in the breeding of buffaloes, the cultivation of rice, and the collection of jungle produce which they exported by means of the river.</span></p>
<p class="Body-Text-2 C-5"></p>
<p class="Body-Text-2 P-3"><span class="font-size-2"><strong>Thrusting the Line Northwards</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Small settlements were discovered at intervals up to Rompin, where the surveyors found a Malay village of seventy inhabitants. Throughout the next few miles only a few isolated huts were seen, these being occupied by Sakais, the aborigines, who eke out a living by cultivating maize and yams. Bahau was only a small Malay kampong; but from a point two miles beyond, to Kuala Pilah, the country was fairly well populated by Malays. One stretch of country, thirty-five miles in length, was practically devoid of human life, only Sakais being met at intervals. Near the Triang River the Malays were numerous, as they were when the Pahang River was approached. For about two-thirds of the distance the alinement ran through virgin jungle that yielded very little serviceable timber, the trees rarely exceeding 2 ft in diameter. Plenty of coarse sand, suitable for ballasting and mortar, as well as a clay for making bricks, was found along the route.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">From Temerloh, the next stage northward was to Kuala Tembeling, 117 miles. This section is roughly parallel with the Pahang River, which flows into the China Sea, and the line was set back so that a fairly straight alinement, avoiding the windings of the river, was presented.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The country traversed was practically uninhabited virgin jungle. There were settlements on the banks of the river, the highway of the natives, but these did not penetrate the forest to any distance. This population became more scanty as the railway pushed northwards, the villages being very small and infrequent, and peopled by natives of an inferior type. There was no sign of any industrial activity along this length of the line.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">By keeping near to the river the engineers were able to round the Tahan Mountains on the east, and obtained not only a much shorter road than would have ensued had the western turning of the mountain been adopted, but also one which was considerably cheaper and more economical to lay. The section north from Tembeling to Kuala Lipis, 141 miles, was opened in 1917. This part of the line followed the river and involved at one point the construction of a retaining wall 400 ft in length and a viaduct of three brick arches. To the north, in Kelantan, thirty-two miles were opened in 1915 from Tumpat south-ward to Tanah Merah. The war of 1914-18 hindered the construction, work on the northern section being stopped for more than three years.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Soon after the war the resumption of work was hampered by trade depression, and it was not until 1921 that a further stretch of five miles of track was added to the southern section, which was creeping up northward from Kuala Lipis, the new railhead being at Padang Tungku.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The engineers working southward reached the Kelantan River, thirty-five miles from Tumpat, and work on the building of the Guillemard Bridge was begun in 1920. This bridge, which was opened in July, 1924, was the largest in the Peninsula, being 2,166 ft. long over all, and composed of five clear spans of 250 ft each and five spans of 150 ft. The height from the river bed to the underside of the girders is 55 ft. The quantity of concrete and brickwork in abutments and piers is about 20,000 cubic yards, and the total weight of steelwork in the girders is 2,776 tons. As the work proceeded in this Kelantan section a number of tunnels had to be constructed. Progress during the years was in accordance with the money allocated out of the resources of the Peninsula.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">It was not until September, 1931, that the East Coast Line was opened to traffic, the last section to be completed being that between Gua Musang (200 miles from Gemas) and Kuala Gris, in Kelantan. A through service was begun, an express leaving Tumpat, the northern terminus, every Thursday morning, with day and night accommodation, and reaching Singapore the next morning, the journey occupying twenty and a half hours. The express in the reverse direction leaves Singapore on Sunday evening, and arrives at Tumpat on Monday afternoon. Mixed trains (passengers and goods) run in addition.</span></p>
<p class="Body-Text-2 P-3"><br/> <span class="font-size-2"><strong>£70,000 for Repairs</strong></span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">At the end of the year, in December, the Peel Bridge at Kemubu, 235½ miles from Gemas, collapsed because of the abnormal rise of the river. The bridge consisted of two main spans of 250 ft each and a land span of 150 ft. The river, after having begun to rise at the rate of 10-in an hour, reached the girders, and the rise then increased to 18-in an hour, the water flooding the railway track to a depth of 9 ft. All the time the rain-swollen current was sweeping down at the rate of ten knots, pounding timber and logs against the steel work. The bridge became a dam against which all the trees and matter brought down by the river piled up hour after hour. To the anxious onlookers it seemed incredible that the bridge should hold. The flood water reached the bottom boom of the bridge in the afternoon at 3.30 on December 18, and more than seven hours later the bridge was still intact despite the fact that something like twelve acres of trees and logs were jammed against it by the terrific force of the water. About 11 pm, however, the two 250-ft spans gave way, the lateral pressure against the girders being overwhelming.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">Apart from the work of rebuilding the bridge, the line was badly damaged at many points, and the cost of reconstruction was more than £70,000.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">The engineers and administrative officers had a busy Christmas. The line was closed for only a few days, as it was imperative to get food through to the regions devastated by the floods. A train was sent out on December 22 from Kuala Lipis, in Pahang, under orders to go north as far as possible. This was forced back by the floods. A railway tug and a lighter were then sent from Kota Bahru up the swollen River Kelantan to Krai with food for the suffering natives. By Boxing Day the railway officials at Kuala Lipis had got into operation a temporary train service to Gua Masang, while their colleagues more than 130 miles to the north at Krai, in Kelantan, were stretching out a temporary service to the south. Some very fine work was done to relieve distress during this period of flood. It was not until months had passed, in April, 1932, that the East Coast Line was reopened throughout its entire length.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">While the East Coast Line at the northern end of the Peninsula was being repaired and consolidated in 1932, important developments were being completed at the southern end, on the island of Singapore, this work being the consummation of a programme which had been in hand for some three years.</span></p>
<p class="Body-Text-2 C-5"><span class="font-size-2">When in June, 1932, the Governor of the Straits Settlements, Sir Cecil Clementi, opened the new terminal station at Singapore, he said that he stood at the end of a chain of railways which would one day form a continuous line of permanent way from the Strait of Dover through Europe, Turkey, Mesopotamia, Persia, Baluchistan, India, Assam, Burma, Siam and Malaya to where he stood. The missing links in the chain are from Prachuah in Siam to Ye, the Siamese end of the Burma system, between Burma and Assam, between Baluchistan and Basra (Iraq), between Mosul (Iraq) and Aleppo (Syria), and the ferry across the Bosphorous, between Asiatic and European Turkey.</span> <br/></p>
<p class="Normal P-3"><span class="font-size-3"><strong>Batu Arang Station</strong></span></p>
<p class="Normal P-4"><span class="C-5"><span class="font-size-2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233140289?profile=original" target="_self"><img width="625" src="http://storage.ning.com/topology/rest/1.0/file/get/2233140289?profile=RESIZE_1024x1024" width="625" class="align-center"/></a>BATU ARANG STATION</span>, on a branch tine between Kuala Lumpur and Penang, lies some twenty-two miles from Kuala Lumpur. Kuang Junction is at the head of this fourteen-miles branch line leading to Batang Berjuntai, the terminus. </span>(<span class="C-11">Page 968</span>) <br/> <br/> (<span style="font-size: 10pt;">source:</span> <a href="http://www.railwaywondersoftheworld.com/malayan_railways.html" style="font-size: 10pt;">http://www.railwaywondersoftheworld.com/malayan_railways.html</a><span style="font-size: 10pt;">)</span></p>
GEORGE STENITZER·Simplify Your Content Marketing Strategy with a One-Page Plan
tag:iconada.tv,2016-06-30:3600580:BlogPost:453076
2016-06-30T03:49:53.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p>As CMI research shows, marketers with a documented content marketing strategy are more effective than those who don’t have a written strategy. Yet,only 27% of B2C and 48% of B2B marketers have developed a plan.</p>
<p>If you lack a written strategy, a one-page plan is a great place to begin. If you have a detailed strategy but struggle to gain traction, boiling it down to one page will make it easier. A one-page strategy can help you:</p>
<p>Crystalize your content marketing strategy…<br></br></p>
<p>As CMI research shows, marketers with a documented content marketing strategy are more effective than those who don’t have a written strategy. Yet,only 27% of B2C and 48% of B2B marketers have developed a plan.</p>
<p>If you lack a written strategy, a one-page plan is a great place to begin. If you have a detailed strategy but struggle to gain traction, boiling it down to one page will make it easier. A one-page strategy can help you:</p>
<p>Crystalize your content marketing strategy<br/> Gain stronger buy-in more quickly from executives or clients<br/> Keep content producers strategically aligned<br/> Get started</p>
<p>To create a content marketing strategy in one page, first focus on what the organization needs to accomplish in the next year.</p>
<p>How to ascertain this information depends on your environment. Whether you engage C-level executives, read the company’s internal and external documents (including the overall marketing plan), or use another research avenue, you should identify:</p>
<p>Company’s growth strategy<br/> Revenue growth targets (as a percent or dollar figure over last year)<br/> Profit targets (as a percent or monetary amount per share over last year)<br/> How growth will be achieved (e.g., new product launch, add-on sales to existing customers, new markets, acquisition, new customers, increase in market share)<br/> Other factors or criteria important to the organization’s growth<br/> These business-level elements will appear in your plan as:</p>
<p>1. Objectives: What qualitative results must the company accomplish over the next year?</p>
<p>2. Goals: How will progress toward objectives be measured quantitatively?</p>
<p>Next, work with mid-level marketing, sales, and product leaders to sketch a content marketing plan. How will content marketing help the company achieve its goals? You may find some ideas that content marketing can support, and others that it can’t. What content marketing can support will appear in your plan as:</p>
<p>3. Strategies: What will the content marketing function deliver qualitatively during the next year (e.g., introduce a new product, increase awareness, dramatize your solution’s differentiation)?</p>
<p>4. Metrics: How will marketing measure the achievement of content marketing strategies (e.g., increase awareness by a certain percent, deliver specified number of marketing-qualified leads to sales, contribute a certain dollar amount to the sales pipeline from qualified leads, produce a certain amount of revenue)?</p>
<p>Don’t shy away from revenue goals. It’s bracing to have quantified goals to meet, but quotas bring a clear finish line and value to all content marketing activities. They measure the sales pipeline, customers won, and revenue generated. These are the metrics executives really care about.</p>
<p><strong>Take it to the executives</strong></p>
<p>Now that you have completed the first four parts of the plan, present the draft to the executives and middle managers. Walk through the plan step by step and discuss it immediately, face to face. Be open to questions and input. Be succinct. Be wise – narrow the scope of discussion to avoid misunderstandings or setbacks. The results of their input will help you sharpen the plan, but you still must keep it to one page.</p>
<p>Through your exchanges, you’ll learn that most executives care about the financial numbers. As one CEO put it, “When you come into my office, I see either a penny of expense or a penny of profit on your forehead.” They want to know:</p>
<p>Content marketing costs<br/> Revenue planned to be generated and by what date<br/> Profit produced based on company or product margins<br/> Targeted return ROI for content marketing<br/> Work toward a straightforward understanding with your executives – a simple and scalable marketing model. For instance, I reached this understanding with a CFO: For every $3 in revenue generated by marketing, the company would spend an additional dollar on marketing. The more revenue generated by marketing, the more budget it would have to spend.</p>
<p><strong>Align content creators</strong></p>
<p>I pin the agreed-upon one-page plan above my computer screen and encourage my team to do the same. Use the plan as a litmus test for ideas. Let it simplify decisions about which content goes forward.</p>
<p>As you well know, all your agencies, freelancers, reporters, writers, and digital and social experts need to work from the same content marketing strategy. When it’s only one page, they’re far likelier to use it day to day than they would a multi-page document.</p>
<p>In addition to one-page strategies, content creators also need:</p>
<p>One-page message map<br/> Buyer personas<br/> Understanding of the buyers’ journey<br/> Editorial calendar<br/> Template example</p>
<p>This content marketing strategy template fits on one side of standard printer paper. If you absolutely need more space, use legal-sized paper or even an 11- by 17-inch piece. The important thing is to keep it to a single page that can be easily shared to maximize its impact and usefulness with executives and content creators.</p>
<p><strong>Content Marketing One-Page Plan</strong></p>
<p>Objectives:</p>
<p>1. Increase revenue from product X over the next 12 months.</p>
<p>2. Position this disruptive new product as a viable alternative to (competitor’s product).</p>
<p><strong>Goals:</strong></p>
<p>1. Increase revenue by X% to X% in 2015.</p>
<p>2. Build buyer awareness to XX%.</p>
<p><strong>Strategy:</strong></p>
<p>1. Become the best source of information on (customer problem or product category).</p>
<p>2. Deliver useful information and thought-provoking insights.</p>
<p>3. Educate buyers on:</p>
<p>How to address key technology and business challenges<br/> How to generate revenue, reduce expenses, and improve user experiences<br/> Metrics:</p>
<p>1. Increase website traffic +XX% year over year.</p>
<p>2. Convert XX% of website users. (You may track soft conversions and/or hard conversions.)</p>
<p>3. Add to the sales pipeline XXXX marketing-qualified leads per year, including $YY million in potential deals.</p>
<p>4. Generate revenue of $X million.</p>
<p>Who we serve: Capsule version of buyer personas</p>
<p>What’s in it for buyers? Ideas to further buyers’ careers and their companies’ success</p>
<p>Topics: List topics where the company seeks to position its helpful content.</p>
<p>Serving sizes & frequencies</p>
<p>Time (to get message across) Words Media</p>
<p>7 seconds 23 Headline, tweet, sound bite, cartoon (daily)</p>
<p>2 minutes 400 Web page, blog, news release, video, infographic (2X/week)</p>
<p>5 minutes 1,000 Magazine article, contributed articles, long video (monthly)</p>
<p>20+ minutes 4,000+ White paper, application note, eBook, speech, webinar (quarterly)</p>
<p>Calls to action</p>
<p>Soft: Watch a video. Read blog, magazine article, or white paper.</p>
<p>Hard: Enter demand funnel – read a gated white paper, sign up for a webinar, qualify at a trade show or event.</p>
<p><strong>Conclusion</strong></p>
<p>Adapt the template to suit your needs.Include the most relevant elements. Cover what you need to gain executive support and align content creators. But always keep in mind that it must fit on a single page or its effectiveness will be diminished.</p>
<p>Follow our simple, step-by-step plan to integrate unique, impactful, and strategic content marketing into your organization. Download Launch Your Own Content Marketing Program.</p>
Joe Pulizzi·Chief Content Officer Job Description Sample Template
tag:iconada.tv,2016-06-29:3600580:BlogPost:453072
2016-06-29T06:30:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><span style="font-size: 10pt;">Editor’s note: Because the content marketing industry continues to evolve, we thought it would be a good time to revisit this essential position in an updated post.</span></p>
<p><span class="font-size-2">In my research, there was no current template available for a Chief Content Officer job description. Now there is!</span></p>
<p><span class="font-size-2">Thanks to our call out to the content marketing community a few weeks ago, we’ve put together a Chief…</span></p>
<p><span style="font-size: 10pt;">Editor’s note: Because the content marketing industry continues to evolve, we thought it would be a good time to revisit this essential position in an updated post.</span></p>
<p><span class="font-size-2">In my research, there was no current template available for a Chief Content Officer job description. Now there is!</span></p>
<p><span class="font-size-2">Thanks to our call out to the content marketing community a few weeks ago, we’ve put together a Chief Content Officer job description that can serve as a template for the lead storyteller within a brand.</span></p>
<p><strong><span class="font-size-2">Chief Content Officer Job Description</span></strong></p>
<p><span class="font-size-2">The full text job description is below, but here is a link to a PDF version of the CCO job description, as well as a MS Word document of the job description that you can use within your organization.</span></p>
<p><span class="font-size-2">As you’ll read through this, it’s clear that this is an extremely challenging but necessary position in any company today, as brands continually evolve into media companies.</span></p>
<p><span class="font-size-2">Special thanks to the following individuals for helping to make this happen:</span></p>
<p><span class="font-size-2">Katie McCaskey, Peggy Dorf, Don Hoffman, Wendy Boyce, Sarah Mitchell, Pam Kozelka, Kim Kleeman, Reinier Willems, Joe Pulizzi, DJ Francis, Josh Healan, Christina Pappas, CC Holland, Stallar Lufrano, Lisa Gerber, Kim Gusta, Cindy Lavoie, Jill Nagle, and Ann Handley.</span></p>
<p><strong><span class="font-size-2">Job Description: Chief Content Officer</span></strong></p>
<p><span class="font-size-2">Reports To</span></p>
<p><span class="font-size-2">Chief Executive Officer/Chief Operating Officer (smaller enterprise) or Chief Marketing Officer/VP of Marketing (larger enterprise)</span></p>
<p><span class="font-size-2">Position Summary</span></p>
<p><span class="font-size-2">The Chief Content Officer (CCO) oversees all marketing content initiatives, both internal and external, across multiple platforms and formats to drive sales, engagement, retention, leads and positive customer behavior.</span></p>
<p><span class="font-size-2">This individual is an expert in all things related to content and channel optimization, brand consistency, segmentation and localization, analytics and meaningful measurement.</span></p>
<p><span class="font-size-2">The position collaborates with the departments of public relations, communications, marketing, customer service, IT and human resources to help define both the brand story and the story as interpreted by the customer.</span></p>
<p><span class="font-size-2">Responsibilities</span></p>
<p><span class="font-size-2">Ultimately, the job of the CCO is to think like a publisher/journalist, leading the development of content initiatives in all forms to drive new and current business. This includes:</span></p>
<p><span class="font-size-2">Ensuring all content is on-brand, consistent in terms of style, quality and tone of voice, and optimized for search and user experience for all channels of content including online, social media, email, point of purchase, mobile, video, print and in-person. This is to be done for each buyer persona within the enterprise.</span><br/> <span class="font-size-2"><br/> Mapping out a content strategy that supports and extends marketing initiatives, both short- and long-term, determining which methods work for the brand and why. Continuous evolvement of strategy is a must.</span><br/> <span class="font-size-2"><br/> The development of a functional content calendar throughout the enterprise verticals, and defining the owners in each vertical to particular persona groups.</span><br/> <span class="font-size-2"><br/> Supervising writers, editors, content strategists; be an arbiter of best practices in grammar, messaging, writing, and style.</span><br/> <span class="font-size-2"><br/> Integration of content activities within traditional marketing campaigns.</span><br/> <span class="font-size-2"><br/> Conducting ongoing usability tests to gauge content effectiveness. Gathering data and handle analytics (or supervise those who do) and make recommendations based on those results. Working with owners of particular content to revise and measure particular content and marketing goals.</span><br/> <span class="font-size-2"><br/> Developing standards, systems and best practices (both human and technological) for content creation, distribution, maintenance, content retrieval and content repurposing, including the real-time implementation of content strategies.</span><br/> <span class="font-size-2"><br/> Leveraging market data to develop content themes/topics and execute a plan to develop the assets that support a point of view and educate customers that leads to critical behavioral metrics.</span><br/> <span class="font-size-2"><br/> Establishing work flow for requesting, creating, editing, publishing, and retiring content.Work with technical team to implement appropriate CMS.</span><br/> <span class="font-size-2"><br/> Conducting periodic competitive audits.</span><br/> <span class="font-size-2"><br/> Supervising the maintenance of content inventories and matrices.</span><br/> <span class="font-size-2"><br/> Ensuring consistent global experience and implement appropriate localization/translation strategies.</span><br/> <span class="font-size-2"><br/> Participation in the hiring and supervising of content/story leaders in all content verticals.</span><br/> <span class="font-size-2"><br/> Creation of a strategy for developing SMS/MMS outreach and advertising, apps, etc. as needed.</span><br/> <span class="font-size-2"><br/> Work closely with company’s Chief Design Officer on all creative and branding initiatives to ensure a consistent message across channels.</span><br/> <span class="font-size-2"><br/> <strong>Success Criteria</strong></span></p>
<p><span class="font-size-2">The CCO is measured on the continual improvement of customer nurturing and retention through storytelling, as well as the increase in new prospects into the enterprise through the consistent development and deployment of content to each persona group. Success criteria include:</span></p>
<p><span class="font-size-2">Positive brand recognition and consistency across chosen published channels.</span><br/> <span class="font-size-2"><br/> An increase in defined customer engagement metrics (measured by users taking the desired action…i.e. conversions, subscription, purchase, etc.).</span><br/> <span class="font-size-2"><br/> Website and social media traffic growth.</span><br/> <span class="font-size-2"><br/> Conversion metrics definition and growth.</span><br/> <span class="font-size-2"><br/> Social media positive sentiment metrics.</span><br/> <span class="font-size-2"><br/> Customer feedback and survey data.</span><br/> <span class="font-size-2"><br/> Increases in key search engine keyword rankings.</span><br/> <span class="font-size-2"><br/> A decrease in sales/buying cycles.</span><br/> <span class="font-size-2"><br/> Clearly defining content distribution during particular stages of the buying cycle (lead nurturing).</span><br/> <span class="font-size-2"><br/> Identifying up-sell and cross-sell opportunities through content analysis, and deploying content assets for higher conversion rates.</span><br/> <span class="font-size-2"><br/> Primary criteria for success are customer and employee affinity. Success is measured around lifetime customer value, customer satisfaction, and employee advocacy.</span></p>
<p><strong><span class="font-size-2">Experience and Education Required</span></strong></p>
<p><span class="font-size-2">Bachelor’s degree in English, Journalism, Public Relations or related communications field. MBA in marketing a plus.</span><br/> <span class="font-size-2"><br/> 10-15 years of experience as a respected leader in multichannel content creation (publishing, journalism, etc.).</span><br/> <span class="font-size-2"><br/> Experience with creating compelling messages for different target demographics. Crisis communications experience a plus.</span><br/> <span class="font-size-2"><br/> Expertise in all major business software applications (Adobe Creative Suite, Microsoft Office, etc.).</span><br/> <span class="font-size-2"><br/> HR-related experience including hiring, managing, performance reviews, compensation packages, etc. required.</span><br/> <span class="font-size-2"><br/> Multilingual abilities (specifically Spanish and Chinese) a major plus.</span><br/> <span class="font-size-2"><br/> Audience development and subscription strategies experience a plus.</span><br/> <span class="font-size-2"><br/> <strong>Skills Required</strong></span></p>
<p><span class="font-size-2">The CCO requires a combination marketing and publishing mindset, with the most important aspect being to think “customer first”. In essence, the CCO is the corporate storyteller that must be empathetic toward the pain points of the customer. Specific skills required include:</span></p>
<p><span class="font-size-2">Proven editorial skills. Outstanding command of the English (or primary customer) language.</span><br/> <span class="font-size-2"><br/> Training as a print or broadcast journalist and has a “nose” for the story. Training in how to tell a story using words, images, or audio, and an understanding of how to create content that draws an audience (it is critical that the CCO retain an “outsider’s perspective” much like that of a journalist.)</span><br/> <span class="font-size-2">The ability to lead and inspire large teams of creative personnel and content creators to achieve company’s stated goals.</span><br/> <span class="font-size-2"><br/> Skill at both long-form content creation and real-time (immediate) content creation and distribution strategies and tactics.</span><br/> <span class="font-size-2"><br/> The ability to think like an educator, intuitively understanding what the audience needs to know and how they want to consume it.</span><br/> <span class="font-size-2"><br/> A passion for new technology tools (aka, using the tools you preach about) and usage of those tools within your own blogs and social media outreach. Social DNA a plus!</span><br/> <span class="font-size-2"><br/> Clear articulation of the business goal behind the creation of a piece (or series) of content.</span><br/> <span class="font-size-2"><br/> Leadership skills required to define and manage a set of goals involving diverse contributors and content types</span><br/> <span class="font-size-2"><br/> Project management skills to manage editorial schedules and deadlines within corporate and ongoing campaigns. Ability to work in a 24 hour project cycle-utilizing teams or contractors in other countries.</span><br/> <span class="font-size-2"><br/> Familiarity with principles of marketing (and the ability to adapt or ignore them as dictated by data).</span><br/> <span class="font-size-2"><br/> Excellent negotiator and mediator.</span><br/> <span class="font-size-2"><br/> Incredible people skills.</span><br/> <span class="font-size-2"><br/> Basic technical understanding of HTML, XHTML, CSS, Java, web publishing, Flash, etc.</span><br/> <span class="font-size-2">Fluency in web analytics tools (Adobe Omniture, Google Analytics), social media marketing applications (HootSuite, Tweetdeck, etc.) and leading social media monitoring platforms (Radian6, etc.).</span><br/> <span class="font-size-2"><br/> A willingness to embrace change and to adapt strategies on the fly.</span><br/> <span class="font-size-2"><br/> Great powers of persuasion and presentation (Visio, PowerPoint)</span><br/> <span class="font-size-2"><br/> Experience creating a resource or library of content organized indicating SEO, translations and version control.</span><br/> <span class="font-size-2"><br/> Needs to be continually learning the latest platforms, technology tools and marketing solutions through partnerships.</span><br/> <span class="font-size-2"><br/> Able to screen out sales pitches and look for the relevant brand and customer story.</span><br/> <span class="font-size-2"><br/> Comfortable with acting as the company’s spokesman and advocate via media appearances, interviews, sales calls, trade shows, etc.</span><br/> <span class="font-size-2"><br/> <strong>Attribution</strong></span></p>
<p><span class="font-size-2">Thanks to all of those people that enabled the creation of this Chief Content Officer job description, including: Katie McCaskey, Peggy Dorf, Don Hoffman, Wendy Boyce, Sarah Mitchell, Pam Kozelka, Kim Kleeman, Reinier Willems, Joe Pulizzi, DJ Francis, Josh Healan, Christina Pappas, CC Holland, Stallar Lufrano, Lisa Gerber, Kim Gusta, Cindy Lavoie, Jill Nagle, and Ann Handley.</span></p>
<p><span class="font-size-2">Final description prepared by Joe Pulizzi, Content Marketing Institute</span></p>
<p><strong><span class="font-size-2">About the <a href="http://contentmarketinginstitute.com/2011/05/chief-content-officer-job-description-sample-example-tempate/" target="_blank">Content Marketing Institute</a></span></strong></p>
<p><span class="font-size-2">Content Marketing Institute is the leading content marketing resource on the planet. The CMI group includes the Junta42 content agency matching tool, Chief Content Officer magazine and Content Marketing World, the premier international content marketing event.</span></p>
Michael W. McLaughlin·How to Write a Killer Proposal
tag:iconada.tv,2016-06-21:3600580:BlogPost:446815
2016-06-21T09:38:48.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><span style="font-size: 10pt;">The invitation to write a proposal may be a milestone in the sales cycle—an opportunity to get one step closer to a client and a new project.</span></p>
<p></p>
<p><span class="font-size-2">The best proposal, though, is one you don’t have to write. A competitive field reduces the odds of landing the business. So, if possible, sidestep the formal proposal process entirely.</span></p>
<p></p>
<p><span class="font-size-2">The best proposal, though, is one you…</span></p>
<p><span style="font-size: 10pt;">The invitation to write a proposal may be a milestone in the sales cycle—an opportunity to get one step closer to a client and a new project.</span></p>
<p></p>
<p><span class="font-size-2">The best proposal, though, is one you don’t have to write. A competitive field reduces the odds of landing the business. So, if possible, sidestep the formal proposal process entirely.</span></p>
<p></p>
<p><span class="font-size-2">The best proposal, though, is one you don’t have to write.</span></p>
<p></p>
<p><span class="font-size-2">It’s less costly to write a letter confirming your services than to prepare a formal document proposing your services. Consultants rarely ask clients to award them the business without a formal proposal, so distinguish yourself and ask whether you can start the work using a letter of confirmation. What do you have to lose?</span></p>
<p></p>
<p><span class="font-size-2">A confirmation letter differs from a proposal in that it describes what you will do, rather than what you are proposing to do. The confirmation letter describes the project objective, scope, schedule, fees, and results, just like a proposal.</span></p>
<p></p>
<p><span class="font-size-2">But since it’s not subject to competitive bidding, many other elements of a proposal may not be needed, such as a long list of qualifications, case studies, and detailed descriptions of your firm. Most importantly, the confirmation letter approach ends the sales cycle in your favor.</span></p>
<p></p>
<p><span class="font-size-2">In one case, a client asked a consultant how to create an improved process for communication between the client’s engineering and manufacturing departments. The client intended to ask three other firms the same question and then solicit proposals.</span></p>
<p></p>
<p><span class="font-size-2">Armed with just a white board and a marker, the first consultant led a multi-hour discussion with the client team. That discussion helped the client and the consultant dig out the real problem between the two groups, work through a potential plan for solving it, and create a tentative schedule.</span></p>
<p></p>
<p><span class="font-size-2">At the end of the meeting, the consultant asked for twenty-four hours to solidify the work of the group and prepare a confirmation letter. The client agreed and, the next day, awarded the work to the consultant on the strength of the previous day’s discussion, the planned approach to the project, and the confirmation letter.</span></p>
<p></p>
<p><strong><span class="font-size-3">Twelve Tips for Writing a Winning Proposal</span></strong></p>
<p></p>
<p><span class="font-size-2">For those times that drafting a proposal is inevitable, here are twelve points to keep in mind.</span></p>
<p></p>
<p><strong><span class="font-size-2">1. Create a powerful, but concise executive summary.</span></strong></p>
<p><span class="font-size-2">Decision makers start with and focus on the executive summary, so create this section with that fact in mind. When writing the executive summary, assume the reader knows little or nothing about the proposed project.</span></p>
<p></p>
<p><strong><span class="font-size-2">2. Quantify the results the client can expect.</span></strong></p>
<p><span class="font-size-2">Some consultants create proposals that overemphasize their consulting process and methodologies. Most clients buy results, not tools or methodologies.</span></p>
<p></p>
<p><strong><span class="font-size-2">3. Be generous with your ideas.</span></strong></p>
<p><span class="font-size-2">You may fear that revealing your ideas about how to solve a problem during the proposal process could result in clients taking those ideas and completing the project themselves. In rare cases, that may happen. But you’ll have more success if you don’t hoard your ideas. Use them to show clients how your team thinks and approaches problems.</span></p>
<p></p>
<p><strong><span class="font-size-2">4. Size does matter.</span></strong></p>
<p><span class="font-size-2">Keep your proposals as short as possible, while meeting the client’s request. Think quality, not quantity.</span></p>
<p></p>
<p><strong><span class="font-size-2">5. Focus on the client.</span></strong></p>
<p><span class="font-size-2">Many proposals begin with a long discussion of the consulting firm, its qualifications, and history. Focus your proposal on the client’s needs first, and then describe your firm’s capabilities. Remember, clients only care about how you’ll address their issues, so show them how you’ll do that.</span></p>
<p></p>
<p><strong><span class="font-size-2">6. Beware of best practices.</span></strong></p>
<p><span class="font-size-2">The client may view your liberal use of “best practices” as a convenient crutch. Instead of relying on answers that worked for someone else, find the blend of outstanding practices and innovative solutions that fit your client’s needs.</span></p>
<p></p>
<p><strong><span class="font-size-2">7. Be accurate.</span></strong></p>
<p><span class="font-size-2">If you are using client data to support aspects of your proposal, double and triple check that information. It’s easy for ‘facts’ to be misunderstood and misused in a proposal. You’ll risk turning a winning proposal into a loser if you present inaccurate data to the client.</span></p>
<p></p>
<p><strong><span class="font-size-2">8. Sweat every detail.</span></strong></p>
<p><span class="font-size-2">Watch for typos, use high-quality materials, and make sure the right people receive the proposal on time.</span></p>
<p></p>
<p><strong><span class="font-size-2">9. Rewrite your resume for every proposal.</span></strong></p>
<p><span class="font-size-2">Highlight the skills in your resume that demonstrate your qualifications for the project at hand. Your boilerplate resume is rarely up to the task.</span></p>
<p></p>
<p><strong><span class="font-size-2">10. Finish early.</span></strong></p>
<p><span class="font-size-2">Let your proposal sit for a day once you’ve completed the final draft, and then reread it completely before sending it to the client. You can easily lose perspective when you work on a proposal continuously. Take a breather from it. You’re likely to come up with some new ideas that enhance your work and you may find errors that you missed earlier.</span></p>
<p></p>
<p><strong><span class="font-size-2">11. Let your personality shine through.</span></strong></p>
<p><span class="font-size-2">Give clients a sense of the culture of your firm and your style of working. The traditional, stilted language of many consulting proposals doesn’t help clients answer the all-important question: what will it be like to work with these consultants?</span></p>
<p></p>
<p><strong><span class="font-size-2">12. Don’t let your claims outdistance your capabilities.</span></strong></p>
<p><span class="font-size-2">Some proposals tout the expertise of the consulting firm by referring to past successes with similar projects. These testaments to past achievements are important, but be sure the capabilities of the proposed consulting team can live up to the firm’s claims.</span></p>
<p><span class="font-size-2">The proposal is a crucial step in the consulting sales cycle, and that isn’t likely to change. A great proposal can be decisive in winning a project, while a poor one can cause you to lose a project, even if everything else in the sales process has gone flawlessly. Use these guidelines to a write a killer proposal every time. (<a href="http://mindshareconsulting.com/how-to-write-a-killer-proposal/">http://mindshareconsulting.com/how-to-write-a-killer-proposal/</a>)</span></p>
Greatest Go Green Slogans and Posters
tag:iconada.tv,2016-06-20:3600580:BlogPost:446996
2016-06-20T07:17:45.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/you-must-be-the-change-you-wish-to-see-in-the-world.gif"><img alt="you-must-be-the-change-you-wish-to-see-in-the-world" class="alignnone size-medium wp-image-22493" height="400" src="http://shoutslogans.com/wp-content/uploads/2015/02/you-must-be-the-change-you-wish-to-see-in-the-world-400x400.gif" width="400"></img></a></span> <br></br> <span class="font-size-2">If you want to make a change in the world, you start with yourself. Make the changes you want and in the process you’ll inspire others to do the same.…</span><br></br> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/save-the-planet-slogans.gif"><img alt="save-the-planet-slogans" class="alignnone size-full wp-image-22492" height="450" src="http://shoutslogans.com/wp-content/uploads/2015/02/save-the-planet-slogans.gif" width="450"></img></a></span></p>
<p><span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/you-must-be-the-change-you-wish-to-see-in-the-world.gif"><img class="alignnone size-medium wp-image-22493" src="http://shoutslogans.com/wp-content/uploads/2015/02/you-must-be-the-change-you-wish-to-see-in-the-world-400x400.gif" alt="you-must-be-the-change-you-wish-to-see-in-the-world" width="400" height="400"/></a></span><br/> <span class="font-size-2">If you want to make a change in the world, you start with yourself. Make the changes you want and in the process you’ll inspire others to do the same.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/save-the-planet-slogans.gif"><img class="alignnone size-full wp-image-22492" src="http://shoutslogans.com/wp-content/uploads/2015/02/save-the-planet-slogans.gif" alt="save-the-planet-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Living a more green lifestyle, conserving our resources and not polluting are all things we can do to go green and help keep the environment clean.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/save-nature-slogans.gif"><img class="alignnone size-full wp-image-22491" src="http://shoutslogans.com/wp-content/uploads/2015/02/save-nature-slogans.gif" alt="save-nature-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">In our society we are encouraged to buy new products and stay updated with the latest trends. However if we want a sustainable green planet for the future generations to enjoy, we must learn to make the most of what we have. Not only is it good for the planet, it saves money too.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/save-earth-slogans.gif"><img class="alignnone size-full wp-image-22490" src="http://shoutslogans.com/wp-content/uploads/2015/02/save-earth-slogans.gif" alt="save-earth-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">More hurricanes and tsunamis can be an effect of global warming.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/recycle-slogans.gif"><img class="alignnone size-full wp-image-22489" src="http://shoutslogans.com/wp-content/uploads/2015/02/recycle-slogans.gif" alt="recycle-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Don’t throw garbage on the ground or in the sea. Keep it clean for you and me.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/plant-trees-slogans.gif"><img class="alignnone size-full wp-image-22488" src="http://shoutslogans.com/wp-content/uploads/2015/02/plant-trees-slogans.gif" alt="plant-trees-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Trees do so much for us, this picture encourages everyone to plant one!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/live-simple-slogans.gif"><img class="alignnone size-full wp-image-22487" src="http://shoutslogans.com/wp-content/uploads/2015/02/live-simple-slogans.gif" alt="live-simple-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">So our future generations can enjoy a green planet, lets live in a way where we don’t waste so much of our natural resources.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/live-green-slogans.gif"><img class="alignnone size-full wp-image-22486" src="http://shoutslogans.com/wp-content/uploads/2015/02/live-green-slogans.gif" alt="live-green-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">A green lifestyle is not only good for the planet, it is also good for your bank account since it saves money.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/green-poverb.gif"><img class="alignnone size-full wp-image-22485" src="http://shoutslogans.com/wp-content/uploads/2015/02/green-poverb.gif" alt="green-poverb" width="450" height="450"/></a></span><br/> <span class="font-size-2">This is saying that no one person thinks he or she is to blame for the environmental problems we are experiencing, however it is alot of people who think this way, who are all contributing to the problem.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/green-is-sexy-slogans.gif"><img class="alignnone size-full wp-image-22484" src="http://shoutslogans.com/wp-content/uploads/2015/02/green-is-sexy-slogans.gif" alt="green-is-sexy-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Caring about the Environment is Sexy.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/going-green-slogans.gif"><img class="alignnone size-full wp-image-22483" src="http://shoutslogans.com/wp-content/uploads/2015/02/going-green-slogans.gif" alt="going-green-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Living in a more green way and reducing our carbon footprint today, will create a better path for the future.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/going-green-slogan.gif"><img class="alignnone size-full wp-image-22482" src="http://shoutslogans.com/wp-content/uploads/2015/02/going-green-slogan.gif" alt="going-green-slogan" width="450" height="450"/></a></span><br/> <span class="font-size-2">Encourage others to join you in going green.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-slogans.gif"><img class="alignnone size-full wp-image-22481" src="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-slogans.gif" alt="go-green-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">The solution in reducing pollution is to go green!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-slogan.gif"><img class="alignnone size-full wp-image-22480" src="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-slogan.gif" alt="go-green-slogan" width="450" height="450"/></a></span><br/> <span class="font-size-2">Going green is powerful!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-quotes.gif"><img class="alignnone size-full wp-image-22478" src="http://shoutslogans.com/wp-content/uploads/2015/02/go-green-quotes.gif" alt="go-green-quotes" width="450" height="450"/></a></span><br/> <span class="font-size-2">Pollution, cutting down our forests, animals going extinct makes me angry!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/give-green-a-chance.gif"><img class="alignnone size-full wp-image-22477" src="http://shoutslogans.com/wp-content/uploads/2015/02/give-green-a-chance.gif" alt="give-green-a-chance" width="450" height="450"/></a></span><br/> <span class="font-size-2">Reusing plastic bags, choosing eco friendly products, saving water are all things you can do to live in a greener way.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/flower-earth-day-poster.gif"><img class="alignnone size-full wp-image-22476" src="http://shoutslogans.com/wp-content/uploads/2015/02/flower-earth-day-poster.gif" alt="flower-earth-day-poster" width="450" height="450"/></a></span><br/> <span class="font-size-2">Our future is in our hands. Our fate is determined by the choices we make today.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/environment-slogans.gif"><img class="alignnone size-full wp-image-22475" src="http://shoutslogans.com/wp-content/uploads/2015/02/environment-slogans.gif" alt="environment-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">This is a funny environmental poster encouraging everyone to join the green side!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/environmental-slogans.gif"><img class="alignnone size-full wp-image-22474" src="http://shoutslogans.com/wp-content/uploads/2015/02/environmental-slogans.gif" alt="environmental-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">We are living in a crucial time. The future of our planet depends on the actions we take today.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/eco-slogans.gif"><img class="alignnone size-full wp-image-22472" src="http://shoutslogans.com/wp-content/uploads/2015/02/eco-slogans.gif" alt="eco-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">We will face regret in the future for not making a bigger change today. We all can do our part to live in a greener way.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/eco-friendly-picture.gif"><img class="alignnone size-full wp-image-22471" src="http://shoutslogans.com/wp-content/uploads/2015/02/eco-friendly-picture.gif" alt="eco-friendly-picture" width="450" height="450"/></a></span><br/> <span class="font-size-2">Look for Eco Friendly Products.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/easy-going-green-poster.gif"><img class="alignnone size-full wp-image-22470" src="http://shoutslogans.com/wp-content/uploads/2015/02/easy-going-green-poster.gif" alt="easy-going-green-poster" width="450" height="450"/></a></span><br/> <span class="font-size-2">Reduce, Reuse and Recycle; It’s not hard going Green.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-slogans1.gif"><img class="alignnone size-full wp-image-22469" src="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-slogans1.gif" alt="earth-day-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Going green and keeping the land clean, keeps the environment serene.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-slogan.gif"><img class="alignnone size-full wp-image-22468" src="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-slogan.gif" alt="earth-day-slogan" width="450" height="450"/></a></span><br/> <span class="font-size-2">Buy used instead of new, reuse instead of throw out, reduce our waste, we all can do our part.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-quote.gif"><img class="alignnone size-full wp-image-22467" src="http://shoutslogans.com/wp-content/uploads/2015/02/earth-day-quote.gif" alt="earth-day-quote" width="450" height="450"/></a></span><br/> <span class="font-size-2">No matter where you are in the world, we all should go green.</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/carbon-footprint-slogans.gif"><img class="alignnone size-full wp-image-22465" src="http://shoutslogans.com/wp-content/uploads/2015/02/carbon-footprint-slogans.gif" alt="carbon-footprint-slogans" width="450" height="450"/></a></span><br/> <span class="font-size-2">Let’s cut our carbon footprint!</span><br/> <span class="font-size-2"><a href="http://shoutslogans.com/wp-content/uploads/2015/02/dont-be-mean-go-green.gif"><img class="alignnone size-full wp-image-22466" src="http://shoutslogans.com/wp-content/uploads/2015/02/dont-be-mean-go-green.gif" alt="dont-be-mean-go-green" width="450" height="450"/></a></span><br/> <span class="font-size-2">It’s nice to go green. <span class="font-size-1"> (Source: <a href="http://shoutslogans.com">http://shoutslogans.com</a>)</span></span></p>
Popular Go Green Slogans and Catchy Taglines
tag:iconada.tv,2016-06-16:3600580:BlogPost:446891
2016-06-16T04:51:55.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><br></br><br></br></p>
<p><span class="font-size-2">Be seen to be green.</span><br></br><span class="font-size-2">Being Green is Sexy.</span><br></br><span class="font-size-2">Clean and green!</span><br></br><span class="font-size-2">Don’t act mean – Be Green!</span><br></br><span class="font-size-2">Don’t be mean, go green.</span><br></br><span class="font-size-2">Don’t panic – go organic.</span><br></br><span class="font-size-2">For the love of green!</span><br></br><span class="font-size-2">Forever green!…</span><br></br></p>
<p><br/><br/></p>
<p><span class="font-size-2">Be seen to be green.</span><br/><span class="font-size-2">Being Green is Sexy.</span><br/><span class="font-size-2">Clean and green!</span><br/><span class="font-size-2">Don’t act mean – Be Green!</span><br/><span class="font-size-2">Don’t be mean, go green.</span><br/><span class="font-size-2">Don’t panic – go organic.</span><br/><span class="font-size-2">For the love of green!</span><br/><span class="font-size-2">Forever green!</span><br/><span class="font-size-2">Get into the Green Scene.</span><br/><span class="font-size-2">Give green a chance.</span><br/><span class="font-size-2">Give our children a green future!</span><br/><span class="font-size-2">Go green for life!</span><br/><span class="font-size-2">Go green or I’ll scream.</span><br/><span class="font-size-2">Go Green, help clean.</span><br/><span class="font-size-2">Going green for my children.</span><br/><span class="font-size-2">Golfers do it on the green.</span><br/><span class="font-size-2">Got Green?</span><br/><span class="font-size-2">Green is all you need.</span><br/><span class="font-size-2">Green is the new black!!</span><br/><span class="font-size-2">Green… just do it.</span><br/><span class="font-size-2">I have a dream and it´s Green.</span><br/><span class="font-size-2">I’m green, you’re green, we all love being green.</span><br/><span class="font-size-2">It pays to be green.</span><br/><span class="font-size-2">It won’t take much energy – to conserve energy.</span><br/><span class="font-size-2">It’s easy being green- Reduce, Reuse, Recycle.</span><br/><span class="font-size-2">Keep earth green not grey.</span><br/><span class="font-size-2">Keep It Green.</span><br/><span class="font-size-2">Keep it GREEN, Keep it CLEAN!</span><br/><span class="font-size-2">Keep Our Forests Green.</span><br/><span class="font-size-2">Keep your Earth Clean and Green.</span><br/><span class="font-size-2">Keep your surroundings clean make the earth green.</span><br/><span class="font-size-2">Let your true green shine through.</span><br/><span class="font-size-2">Let’s go green… let’s go.</span><br/><span class="font-size-2">Lets go green to get our globe clean.</span><br/><span class="font-size-2">Live Green, Love Green, Think Green.</span><br/><span class="font-size-2">Live green. Think green. Love green.</span><br/><span class="font-size-2">My green, your green, our green.</span><br/><span class="font-size-2">Peacefully green.</span><br/><span class="font-size-2">Real men go green.</span><br/><span class="font-size-2">Set the scene with green.</span><br/><span class="font-size-2">The world is in our hands.</span><br/><span class="font-size-2">There is no life without Green.</span><br/><span class="font-size-2">Think green.</span><br/><span class="font-size-2">Think Green & Live green.</span><br/><span class="font-size-2">We’re the green team, not the mean team.</span><br/><span class="font-size-2">When the going gets tough, the tough go green.</span><br/><span class="font-size-2">Your planet needs you!<br/><br/><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233131479?profile=original" target="_self"><img width="625" src="http://storage.ning.com/topology/rest/1.0/file/get/2233131479?profile=RESIZE_1024x1024" width="625" class="align-center"/></a></span></p>
<p><span class="font-size-2">The above infographic outlines ways to save money with greener choices. This not only lessens the financial impact in your pocketbook, but also helps the environment.</span></p>
<p></p>
<p><span class="font-size-1"><a href="http://brandongaille.com/list-47-popular-go-green-slogans-and-catchy-taglines/" target="_blank">Source:http://brandongaille.com</a></span></p>
5 Secrets of a Successful TED Talk
tag:iconada.tv,2016-05-27:3600580:BlogPost:438281
2016-05-27T02:30:00.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><span class="font-size-2">What makes a successful TED Talk?</span></p>
<p><br></br> <span class="font-size-2">Here at the Science of People we endeavored to find out. Why do some TED Talks rack up millions of views, change lives and are talked about everywhere?</span></p>
<p><br></br> <span class="font-size-2">All TED Talks are good. Why are some great?</span></p>
<p><br></br> <span class="font-size-2">We set out to answer this question with one of our first crowd-sourced Citizen Science projects. Over…</span></p>
<p><span class="font-size-2">What makes a successful TED Talk?</span></p>
<p><br/> <span class="font-size-2">Here at the Science of People we endeavored to find out. Why do some TED Talks rack up millions of views, change lives and are talked about everywhere?</span></p>
<p><br/> <span class="font-size-2">All TED Talks are good. Why are some great?</span></p>
<p><br/> <span class="font-size-2">We set out to answer this question with one of our first crowd-sourced Citizen Science projects. Over the last year, we had 760 volunteers rate hundreds of hours of TED Talks looking for patterns.</span><br/></p>
<p><span class="font-size-2">We set out to answer this question with one of our first crowd-sourced <a title="Citizen Science Research" href="http://www.scienceofpeople.com/citizen-science-research/" target="_blank">Citizen Science</a> projects. Over the last year, <strong>we had 760 volunteers rate hundreds of hours of TED Talks looking for patterns.</strong></span></p>
<p><span class="font-size-2"><iframe width="560" height="315" src="https://www.youtube.com/embed/wkfYzs2Qv-M?wmode=opaque" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
</span></p>
<p><span class="font-size-2">We were amazed at what we found. Before I get into the 5 patterns, I want to give you some juicy background:</span></p>
<h2><span class="font-size-2">What’s New?</span></h2>
<p><span class="font-size-2">A few authors have aspired to take on the puzzle of what makes a successful TED Talk. Here’s what’s different:</span></p>
<ul>
<li><span class="font-size-2"><strong>More than One Opinion:</strong> We crowd-sourced the data. Instead of one researcher coding and looking for patterns, we had hundreds of participants rating and analyzing the Talks.</span></li>
<li><span class="font-size-2"><strong>Beyond Words:</strong> Although there are some amazing books about the verbal patterns, strategies and rhetoric in TED Talks, very few focus on the body language patterns. And we quickly found out that the nonverbal is even more important than the verbal (see #1 below).</span></li>
<li><span class="font-size-2"><strong>Previous Research</strong>: We based our experiment on peer-reviewed academic research on nonverbal patterns. In this way, we know our results have a solid foundation in respected scientific trials (see citation list below).</span></li>
<li><span class="font-size-2"><strong>Controls:</strong> To get the most accurate results, we only used videos that had been posted on TED.com (so they had similar exposure), were posted in 2010 (so they had about the same amount of time to garner views) and were between 15 and 20 minutes long (so extra short or long Talks didn’t skew the participants’ ratings). We also worked with the amazing Data Scientist, Brandon Vaughn, to make sure our results were solid (see his bio below).</span></li>
</ul>
<p></p>
<h2><span class="font-size-2">Why TED?</span></h2>
<p><span class="font-size-2"><a href="http://www.ted.com/" target="_blank">TED</a> is a non-profit that posts videos of the people with the best ideas presenting on a variety of fascinating topics. This gave us the perfect database of videos of charismatic and intelligent people. Most importantly, the number of views on each video gave us a clear idea of popularity. For example, here are two amazing Talks on leadership: one by Fields Wicker-Miurin called “Learning from Leadership’s Missing Manual” and one by Simon Sinek called “How Great Leaders Inspire Action”. Note the difference in views:</span></p>
<p><span class="font-size-2"><img class=" alignleft wp-image-4251" src="http://3t6qoe2vhteu3gc6po1psr9i.wpengine.netdna-cdn.com/wp-content/uploads/2015/02/Screen-Shot-2015-02-05-at-2.09.16-PM.png" alt="successful ted talk " width="537" height="601"/><a href="http://3t6qoe2vhteu3gc6po1psr9i.wpengine.netdna-cdn.com/wp-content/uploads/2015/02/Screen-Shot-2015-02-05-at-2.09.16-PM-268x300.png">http://3t6qoe2vhteu3gc6po1psr9i.wpengine.netdna-cdn.com/wp-content/uploads/2015/02/Screen-Shot-2015-02-05-at-2.09.16-PM-268x300.png</a> 268w" sizes="(max-width: 537px) 100vw, 537px" /></span></p>
<h2><span class="font-size-2">Puzzle:</span></h2>
<p><span class="font-size-2">While Wicker-Muirin gets a respectable 609,366 views, Sinek’s Talk gets a mind-boggling 20,929,959 views! And:</span></p>
<ul>
<li><span class="font-size-2">Both Talks were published the same month (September 2009) which means they had the same amount of time to garner views.</span></li>
<li><span class="font-size-2">They are both on similar topics.</span></li>
<li><span class="font-size-2">These are both respected, but NOT famous speakers.</span></li>
</ul>
<p><span class="font-size-2">Something about Sinek’s Talk caught fire, captured people and went viral. We see this pattern over and over again on TED. Some Talks hit big and some don’t. But, why?</span></p>
<p><span class="font-size-2"><a href="http://ctt.ec/LNg0d" target="_blank"><strong>Tweet me your favorite TED Talk! </strong></a><strong><a href="http://ctt.ec/LNg0d"><img class="alignright wp-image-2641 size-full" src="http://3t6qoe2vhteu3gc6po1psr9i.wpengine.netdna-cdn.com/wp-content/uploads/2014/11/click-to-tweet.png" alt="click to tweet" width="26" height="22"/></a></strong></span></p>
<h2><span class="font-size-2">The Bigger Picture:</span></h2>
<p><span class="font-size-2">While we examined TED Talks in this experiment, the implications are wide reaching. We are talking about how to increase your charisma, presence and the personal power from a stage, in board rooms and when interacting with people.</span></p>
<blockquote><p><span class="font-size-2">We believe these 5 patterns show us how to be an influencer.</span></p>
</blockquote>
<h2><span class="font-size-2">The 5 Patterns of Popular TED Talks:</span></h2>
<p><span class="font-size-2">These results surprised us. The most pleasant surprise was that these tips are extremely easy to implement for everyone in daily life. Here’s what we found and how you can use the tips:</span></p>
<h3><span class="font-size-2">#1 It’s Not What You Say, It’s How You Say It</span></h3>
<p><span class="font-size-2">TED Talkers spend so much time and energy on what to say–the words, the script, the bullets. But is how they say it more important? We found that there was no difference in ratings between people who watched Talks on mute and people who watched Talks with sound. Yes, you read that correctly:</span></p>
<p><span class="font-size-2"><strong>People liked the speakers just as much with sound as on mute.</strong></span></p>
<p><span class="font-size-2">This means we rate someone’s charisma, credibility and intelligence based on nonverbal signals. This is surprising–we want people to focus on our words, but this experiment is no different from previous research. Studies have found that 60 to 93% of our communication is nonverbal. Over and over again we find that how we say something is more important than what we say. The question then becomes, how do we say something well? Read on to find out which nonverbal signals were most important…</span></p>
<ul>
<li><span class="font-size-2">Bottom Line: Focus on your nonverbal just as much as your verbal.</span></li>
</ul>
<h3><span class="font-size-2">#2 Jazz Hands Rock</span></h3>
<p><span class="font-size-2">Once we realized the importance of the TED speaker’s body language, we decided to look for specific nonverbal patterns that the top TED Talks had different from the bottom TED Talks. One thing became quickly clear:</span></p>
<p><span class="font-size-2"><strong>The more hand gestures, the more successful the Talk.</strong> There was a direct correlation between the number of views on a TED Talk and the number of hand gestures.</span></p>
<p><span class="font-size-2">The bottom TED Talks had an average of 124,000 views and used an average of 272 hand gestures during the 18 minute Talk. The top TED Talks had an average of 7,360,000 views and used an average of 465 hand gestures—that’s almost double! By the way, Temple Grandin, Simon Sinek and Jane McGonigal topped the hand gesture charts with over 600 hand gestures in just 18 minutes.</span></p>
<p><span class="font-size-2">Why do we think this is? Our hands are a <a href="http://www.scienceofpeople.com/2014/04/5-people-skills-5-minutes/" target="_blank">nonverbal way to show and build trust</a>–studies have found that when we see someone’s hands, we have an easier time trusting them. Also, when someone uses their hands to explain a concept, we have an easier time understanding them. Speakers who use hand gestures are speaking to their audience on 2 levels–verbally and nonverbally.</span></p>
<ul>
<li><span class="font-size-2">Bottom Line: To be a good speaker, let your hands do the talking.</span></li>
</ul>
<div class="the_content"><h3><span class="font-size-2">#3 Scripts Kill Your Charisma</span></h3>
<p><span class="font-size-2">Nonverbal communication isn’t just about body language, its also about vocal cues. We had our evaluators rate the TED speakers on vocal variety, or the amount of fluctuation in their voice tone, volume and pitch. Again, the relationship was clear. The more vocal variety a speaker had, the more views they had. Specifically, vocal variety increased the speakers’ charisma and credibility ratings. In other words, speakers who told stories, ad libbed and even yelled at the audience like<a href="http://www.ted.com/participate/ted-prize/prize-winning-wishes/food-revolution-jamie-oliver" target="_blank">Jamie Oliver</a> in his TED Talk, captivated the audience’s imagination and attention.</span></p>
<p><span class="font-size-2">Researchers who have studied teacher ratings have also found that vocal variety is important for improving student evaluations (See Rocca, K.A.). When you are practicing giving your elevator pitch or your next presentation, try saying your words at least 5 different ways. Practice putting emphasis on different words, slowing and speeding up your pace and varying your volume on important points.</span></p>
<ul>
<li><span class="font-size-2">Bottom Line: Memorized lines and scripts kill your memorability.</span></li>
</ul>
<p><span class="font-size-2"><a href="http://ctt.ec/7B63Q" target="_blank"><strong>Loving this research? Tell me! </strong></a><strong><a href="http://ctt.ec/7B63Q"><img class="alignright size-full wp-image-2641" src="http://3t6qoe2vhteu3gc6po1psr9i.wpengine.netdna-cdn.com/wp-content/uploads/2014/11/click-to-tweet.png" alt="click to tweet" width="26" height="22"/></a></strong></span></p>
<h3><span class="font-size-2">#4 Smiling Makes You Look Smarter</span></h3>
<p><span class="font-size-2">This finding is the only pattern that goes against the current research. Studies on smiling have found that leaders typically smile less. Nonverbal scientists believe that smiling is actually a low power behavior. However, in our research we found that the longer a TED speaker smiled, the higher their perceived intelligence ratings were. Those who smiled at least 14 seconds were rated as higher in intelligence than those who smiled for less. Doesn’t this seem counter-intuitive? When we think of an intelligent person, we usually think of someone very serious. But even when TED Talkers were speaking about a serious topic, like <a href="http://www.ted.com/talks/sheryl_sandberg_why_we_have_too_few_women_leaders" target="_blank">Sheryl Sandberg’s</a> Talk on women leaders, smiling still helped her intelligence ratings.</span></p>
<ul>
<li><span class="font-size-2">Bottom Line: No matter how serious your topic, find something to smile about.</span></li>
</ul>
<h3><span class="font-size-2">#5 You Have 7 Seconds</span></h3>
<p><span class="font-size-2">We can’t emphasize enough the power of the first 7 seconds of any interaction you have. According to our ratings, people had already made their first impression and decision about the entire Talk in the first 7 seconds of the video. Researcher, Nalini Ambady calls this ‘thin-slicing.’ She says that for efficiency purposes, the brain makes very quick judgments of people within the first few seconds of meeting them. Typically, this happens before any words are exchanged. So yes, think about your opening line, but also think about how you take the stage, how you acknowledge the audience and how you deliver your first line.</span></p>
<ul>
<li><span class="font-size-2">Bottom Line: Make a grand entrance.</span></li>
</ul>
<hr/><p><span class="font-size-2">I hope this research has shed some light on what makes someone charismatic and how you can improve your own stage presence. Whether you are going to deliver the next top TED Talk or you just want to make an impact in your daily life, take these 5 easy cues and make them your own.</span></p>
<h2><span class="font-size-2">More About the Experiment:</span></h2>
<p><span class="font-size-2">Participants were asked to rate TED Talks on a scale of 1 to 5 (1 being low, 5 being high). <strong>They were asked to rate the speaker’s charisma, credibility and intelligence. </strong>We did this in 3 parts:</span></p>
<p><span class="font-size-2"><strong>Part I: First Impressions</strong></span></p>
<p><span class="font-size-2">Previous research by Nalini Ambady suggested that we decide if we like someone in less than 7 seconds. We wanted to know if there was a difference for people who watched an entire 18 minute Talk versus people who watched just the first 7 seconds. Here is an example of the 7 second trial where participants watched a video like this and filled out a rating chart for charisma, credibility and intelligence as they watched:</span></p>
<p><span class="font-size-2"><iframe width="500" height="281" src="http://player.vimeo.com/video/99174077" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
</span></p>
<p><span class="font-size-2"><strong>Part II: Verbal or Nonverbal</strong></span></p>
<p><span class="font-size-2">Once we saw these surprising results’ role in (see #1 above) we wondered if the verbal content or nonverbal presentation of the content had anything to do with the success of the TED Talk. This time we had one group watch and rate the first 7 seconds of a TED Talk and a second group watch and rate the first 7 seconds of a TED Talk on MUTE! It was like this:</span></p>
<p><span class="font-size-2"><iframe width="500" height="281" src="http://player.vimeo.com/video/99161430" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
</span></p>
<p><span class="font-size-2">Here’s what fascinated us at this point: All of the ratings matched the number of views. In other words, the Talks that got the most views were also the Talks that got highest ratings in credibility, charisma and intelligence<strong> whether or not people only watched 7 seconds or on mute. </strong>As we explain in our 5 patterns:</span></p>
<blockquote><p><span class="font-size-2">Our research suggests that we decide if we like the TED Talk in the first 7 seconds–and it has very little, if nothing to do with the words.</span></p>
</blockquote>
<p><span class="font-size-2"><strong>Part III: Patterns</strong></span></p>
<p><span class="font-size-2">Finally, we started to look for nonverbal patterns between the videos that ranked high in charisma, credibility and intelligence. We felt since the results of Part I and II pointed us in the direction of nonverbal, that’s where we would focus. Additionally, most of the previous research has been done on the verbal side of TED Talks, but very little on the nonverbal side.</span></p>
<h2><span class="font-size-2">More Fun Patterns:</span></h2>
<p><span class="font-size-2">We also found that some nonverbal gestures were more important than others:</span></p>
<ul>
<li><span class="font-size-2"><strong>Credibility:</strong> Speakers who rated high in credibility had higher vocal variety and longer smiling.</span></li>
<li><span class="font-size-2"><strong>Charisma:</strong> The most important thing for charisma was hand gestures and vocal variety.</span></li>
<li><span class="font-size-2"><strong>Intelligence:</strong> Smiling was the most important factor for intelligence ratings (More than 14 seconds of smiling seemed to be the tipping point for higher ratings in intelligence).</span></li>
</ul>
<h2><span class="font-size-2">Small, But Interesting:</span></h2>
<p><span class="font-size-2">We only examined 50 TED Talks for these patterns, but it proved interesting nonetheless:</span></p>
<ul>
<li><div><span class="font-size-2">People in casual clothing typically rated lower than people in business or business casual.</span></div>
</li>
<li><div><span class="font-size-2">Women who wore business clothing got higher ratings compared to men in business clothing (not casual or business casual).</span></div>
</li>
<li><div><span class="font-size-2">Speakers in darker colors got higher ratings than those in lighter colors.</span></div>
</li>
</ul>
<h2><span class="font-size-2">More Fun Numbers:</span></h2>
<ul>
<li><span class="font-size-2">Charisma was the name of the game. The most popular TED Talks rated 43% higher in charisma compared to less popular TED Talks.</span></li>
<li><span class="font-size-2">The most popular TED Talkers had 30.5% higher vocal variety than less popular TED Talkers.</span></li>
<li><span class="font-size-2">For the charisma ratings, high TED Talkers used at least 240 hand gestures. In general, TED Talkers who used less than 240 hand gestures scored lower on charisma.</span></li>
</ul>
<h2><span class="font-size-2">Conclusion:</span></h2>
<p><span class="font-size-2">There is a lot more research that could be done in this area. We could look at differences between men and women, across races and locations. It would be wonderful to compare these results to different years and see if that changes results. However, this preliminary research is helpful, inspiring and fascinating. What we perceive to be important about public speaking, charisma and presence and what is actually important might differ more than we think.</span></p>
<h2><span class="font-size-2">Researchers:</span></h2>
<p><span class="font-size-2"><a href="http://www.scienceofpeople.com/about/" target="_blank">Vanessa Van Edwards</a> is a behavioral investigator and published author. She figures out the science of what makes people tick at her human behavior research lab, the Science of People. As a geeky, modern-day Dale Carnegie, her innovative work has been featured on NPR, Business Week and CNN.</span></p>
<p><span class="font-size-2"><a href="http://firstthingsproductivity.com/" target="_blank">Brandon Vaughn</a> is our Chief Data Scientist at the Science of People. While moonlighting with us, he spends his days working with data at Apple and running his podcast, First Things. He is a whiz with numbers and loves finding patterns in big data.</span></p>
<h2><span class="font-size-2">Thank You!</span></h2>
<p><span class="font-size-2">Thank you to all of the amazing Science of People friends who voted, watched and rated these videos. We could not have done this amazing experiment without you.</span></p>
<p><span class="font-size-2">Thank you to TED for bringing together the people with the best ideas and sharing the knowledge with all of us.</span></p>
<p><span class="font-size-2">Thank you to all of the TED speakers for speaking out, sharing your voice and letting us learn from you.</span></p>
<h2><span class="font-size-2">Citations:</span></h2>
<ul>
<li><span class="font-size-2">Nalini Ambady & Robert Rosenthal, Thin Slices of Expressive Behavior as Predictors of Interpersonal Consequences: A Meta-Analysis, Psychol. Bull. 111, 256–274 (1992).</span></li>
<li><span class="font-size-2">Moore, J. T. Masterson, D. M. Christophel, and K. A. Shea, College teacher immediacy and student ratings of instruction. Communication Education, 45, 29-39 (1996)</span></li>
<li><span class="font-size-2"> Deborah J. Merritt, Bias, the brain, and student evaluations of teaching, St. John’s Law Rev. 82, 235-287 (2008)</span></li>
<li><span class="font-size-2"> M. Williams and S. J. Ceci, How’m I doing?, Change, 29, 12-23 (1997).</span></li>
<li><span class="font-size-2">Nalini Ambady & Robert Rosenthal, Half a Minute: Predicting Teacher Evaluations from Thin Slices of Nonverbal Behavior and Physical Attractiveness, J. Personality & Soc. Psychol. 64, 431-441 (1993).</span></li>
<li><span class="font-size-2">Andersen, J.F. (1979). Teacher immediacy as a predictor of teaching effectiveness. In D. Nimmo (Ed.), Communication Yearbook, 3 (pp.543-559). New Brunswick, NJ: Transaction Books.</span></li>
<li><span class="font-size-2">Christophel, D.M. (1990). The relationships among teacher immediacy behaviors, student motivation, and learning. Communication Education, 39, 323-340.</span></li>
<li><span class="font-size-2">Frymier, A.B. (1994). A model of immediacy in the classroom. Communication Quarterly, 42, 133-144.</span></li>
<li><span class="font-size-2">Gorham, J. (1988). The relationship between verbal teaching immediacy behaviors and student learning. Communication Education, 17, 40-53.</span></li>
<li><span class="font-size-2">Mehrabian, A. (1971). Silent messages. Belmont, CA: Wadsworth Publishing Company.</span></li>
<li><span class="font-size-2">Pogue, L. and AhYun, K. (2006). The effect of teacher nonverbal immediacy and credibility on student motivation and affective learning. Communication Education, 55, 331-344.</span></li>
<li><span class="font-size-2">Rocca, K.A. (2004). College student attendance: Impact of instructor immediacy and verbal aggression. Communication Education, 53, 185-195.</span></li>
<li><span class="font-size-2">Rocca, K.A. and McCroskey, J. C. (1999). The interrelationship of student ratings of instructors’ immediacy, verbal aggressiveness, homophily, and interpersonal attraction. Communication Education, 48, 308-316.</span></li>
<li><span class="font-size-2">Thweatt, K.S. (1999). The impact of teacher immediacy, teacher affinity-seeking, and teacher misbehaviors on student-perceived teacher credibility. Paper presented at the National Communication Association, Chicago, IL.</span></li>
</ul>
<p><span class="font-size-2"> </span></p>
<h6><span class="font-size-2"><b>All Rights Reserved + COPYRIGHT 2015 <a href="http://www.scienceofpeople.com/2015/03/secrets-of-a-successful-ted-talk/" target="_blank">Science of People, LLC</a></b></span></h6>
</div>
<div class="the_author"><div id="author-info"><h3><span class="font-size-2">ABOUT VANESSA VAN EDWARDS</span></h3>
<span class="font-size-2"><a href="http://www.scienceofpeople.com/author/vvanedwards/" class="author-display"><img alt="" src="http://1.gravatar.com/avatar/15ba7740ce66c00039593cc74870ee24?s=100&d=mm&r=g" class="avatar avatar-100 photo" height="100" width="100"/></a></span><br/>
<div id="author-description"><div class="description-author"><div class="text-author"><p><span class="font-size-2"><a href="http://www.scienceofpeople.com/about-vanessa-van-edwards/">Vanessa Van Edwards</a> is a published author and behavioral investigator. She is a Huffington Post columnist and her <a href="http://www.scienceofpeople.com/work-with-me/">courses</a> and research has been featured on CNN, Forbes, Business Week and the Wall Street Journal. As a published Penguin author, Vanessa regularly speaks and appears in the media to talk about her research. She is a sought after consultant and <a href="http://www.scienceofpeople.com/speaking/">speaker</a>.</span></p>
</div>
</div>
</div>
</div>
</div>
Michelle Weise · The Real Revolution in Online Education Isn’t MOOCs
tag:iconada.tv,2016-01-18:3600580:BlogPost:365047
2016-01-18T04:10:06.000Z
用心涼Coooool
https://iconada.tv/profile/tumeitaobao
<p><span class="font-size-2">Data is confirming what we already know: recruiting is an imprecise activity, and degrees don’t communicate much about a candidate’s potential and fit. Employers need to know what a student knows and can do.</span></p>
<p><span class="font-size-2">Something is clearly wrong when only 11% of business leaders — compared to 96% of chief academic officers — believe that graduates have the requisite skills for the workforce. It’s therefore unlikely that business leaders…</span></p>
<p><span class="font-size-2">Data is confirming what we already know: recruiting is an imprecise activity, and degrees don’t communicate much about a candidate’s potential and fit. Employers need to know what a student knows and can do.</span></p>
<p><span class="font-size-2">Something is clearly wrong when only 11% of business leaders — compared to 96% of chief academic officers — believe that graduates have the requisite skills for the workforce. It’s therefore unlikely that business leaders are following closely what’s going on in higher education. Even the latest hoopla around massive open online courses (MOOCs) amounts to more of the same: academics designing courses that correspond with their own interests rather than the needs of the workforce, but now doing it online.</span></p>
<p><span class="font-size-2">But there is a new wave of online competency-based learning providers that has absolutely nothing to do with offering free, massive, or open courses. In fact, they’re not even building courses per se, but creating a whole new architecture of learning that has serious implications for businesses and organizations around the world.</span></p>
<p><span class="font-size-2">It’s called online competency-based education, and it’s going to revolutionize the workforce.</span></p>
<p><span class="font-size-2">Say a newly minted graduate with a degree in history realizes that in order to attain her dream job at Facebook, she needs some experience with social media marketing. Going back to school is not a desirable option, and many schools don’t even offer relevant courses in social media. Where is the affordable, accessible, targeted, and high-quality program that she needs to skill-up?</span></p>
<p><span class="font-size-2">Online competency-based education is the key to filling in the skills gaps in the workforce. Broadly speaking, competency-based education identifies explicit learning outcomes when it comes to knowledge and the application of that knowledge. They include measurable learning objectives that empower students: this person can apply financial principles to solve business problems; this person can write memos by evaluating seemingly unrelated pieces of information; or this person can create and explain big data results using data mining skills and advanced modeling techniques.</span></p>
<p><span class="font-size-2">Competencies themselves are nothing new. There are schools that have been delivering competency-based education offline for decades, but without a technological enabler, offline programs haven’t been able to take full advantage of what competencies have to offer.</span></p>
<p><span class="font-size-2">A small but growing number of educational institutions such as College for America (CfA), Brandman, Capella, University of Wisconsin, Northern Arizona, and Western Governors are implementing online competency-based programs. Although many are still in nascent stages today, it is becoming clear that online competencies have the potential to create high-quality learning pathways that are affordable, scalable, and tailored to a wide variety of industries. It is likely they will only gain traction and proliferate over time.</span></p>
<p><span class="font-size-2">But this isn’t vocational or career technical training nor is it the University of Phoenix. Nor is this merely about STEM-related knowledge. In fact, many of these competency-based programs have majors or a substantive core devoted to the liberal arts. And they go beyond bubble tests and machine-graded exercises. Final projects often include complex written assignments and oral presentations that demand feedback from instructors.</span></p>
<p><span class="font-size-2">The key distinction is the modularization of learning. Nowhere else but in an online competency-based curriculum will you find this novel and flexible architecture. By breaking free of the constraints of the “course” as the educational unit, online competency-based providers can easily and cost-effectively stack together modules for various and emergent disciplines.</span></p>
<p><span class="font-size-2">Here’s why business leaders should care: the resulting stackable credential reveals identifiable skillsets and dispositions that mean something to an employer. As opposed to the black box of the diploma, competencies lead to a more transparent system that highlights student-learning outcomes.</span></p>
<p><span class="font-size-2">College transcripts reveal very little about what a student knows and can do. An employer never fully knows what it means if a student got a B+ in Social Anthropology or a C- in Geology. Most colleges measure learning in credit hours, meaning that they’re very good at telling you how long a student sat in a particular class — not what the student actually learned.</span></p>
<p><span class="font-size-2">Competency-based learning flips this on its head and centers on mastery of a subject regardless of the time it takes to get there. A student cannot move on until demonstrating fluency in each competency. As a result, an employer can rest assured that when a student can use mathematical formulas to make financial decisions; the student has mastered that competency. Learning is fixed, and time is variable.</span></p>
<p><br/> <span class="font-size-2">What’s more, many of these education providers are consulting with industry councils to understand better what employers are seeking. Businesses and organizations of all sizes can help build series of brief modules to skill up their existing workforce. The bundle of modules doesn’t even necessarily need to culminate in a credential or a degree because the company itself validates the learning process. Major companies like The Gap, Partners Healthcare, McDonald’s, FedEx, ConAgra Foods, Delta Dental, Kawasaki, Oakley, American Hyundai, and Blizzard are just a few of the growing number of companies diving into competencies by partnering with institutions such as Brandman, CfA, and Patten. By having built that specific learning pathway in collaboration with the education provider, the employer knows that the pipeline of students will most certainly have the requisite skills for the work ahead.</span></p>
<p><span class="font-size-2">For working adults who are looking to skill-up, the advantages are obvious. These programs are already priced comparable to, or lower than, community colleges, and most offer simple subscription models so students can pay a flat rate and complete as many competencies as they wish in a set time period. Instead of having to sit for 16 weeks in a single course, a student could potentially accelerate through a year’s worth of learning in that same time. In fact, a student who was working full-time and enrolled at College for America earned an entire associate’s degree in less than 100 days. That means fewer opportunity costs and dramatic cost savings. For some, that entire degree can be covered by an employer’s tuition reimbursement program—a degree for less than $5,000. It is vital to underscore, however, that competency-based education is about mastery foremost—not speed. These pathways importantly assess and certify what a student knows and can do.</span></p>
<p><span class="font-size-2">Over time, employers will be able to observe firsthand and validate whether the quality of work or outputs of their employees are markedly different with these new programs in place. Online competency-based education has the potential to provide learning experiences that drive down costs, accelerate degree completion, and produce a variety of convenient, customizable, and targeted programs for the emergent needs of our labor market.</span></p>
<p><span class="font-size-2">A new world of learning lies ahead. Time to pay attention.</span></p>
<p><span class="font-size-1"><a href="https://hbr.org/2014/10/the-real-revolution-in-online-education-isnt-moocs/" target="_blank">Michelle R. Weise</a>, Ph.D. is a senior research fellow in higher education at the Clayton Christensen Institute for Disruptive Innovation and co-author with Clayton M. Christensen of Hire Education: Mastery, Modularization, and the Workforce Revolution. (OCTOBER 17, 2014)</span></p>
Malaysian Creative Industry: A National Perspective
tag:iconada.tv,2016-01-14:3600580:BlogPost:361179
2016-01-14T00:51:53.000Z
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<p><span class="font-size-3">Malaysian Creative Industry: In A Nutshell</span></p>
<p><span class="font-size-2">Creative Multimedia, Arts & Culture, and, Heritage, Where's our future?<br></br></span></p>
<p><span class="font-size-2">With only 45,031 workers, creative industries gave Malaysia USD 2.7 worth of revenue, what is the magic formula?<br></br> <br></br> Is it just timely or too late to talk about creative industry in Malaysia?…<br></br> <br></br></span></p>
<p><span class="font-size-3">Malaysian Creative Industry: In A Nutshell</span></p>
<p><span class="font-size-2">Creative Multimedia, Arts & Culture, and, Heritage, Where's our future?<br/></span></p>
<p><span class="font-size-2">With only 45,031 workers, creative industries gave Malaysia USD 2.7 worth of revenue, what is the magic formula?<br/> <br/> Is it just timely or too late to talk about creative industry in Malaysia?<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126565?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126565?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126882?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126882?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233127093?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233127093?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233127210?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233127210?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233127218?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233127218?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233127442?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2233127442?profile=RESIZE_1024x1024" width="600" class="align-center"/></a><br/></span></p>
Karla Gutierrez :Four Ways Technology Is Changing How People Learn
tag:iconada.tv,2016-01-14:3600580:BlogPost:365038
2016-01-14T00:49:06.000Z
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<p><span class="font-size-2">Today, more than ever before, technology plays an important role in society. It is changing and will continue to change every aspect of how we live. It is changing the way we communicate, the way we do business, how we learn and teach, and even it’s changing the way our brains work.</span></p>
<p><span class="font-size-2">Because the arrival of technology, the learning environment is changing. Students have more options than they ever would have imagined. In olden…</span></p>
<p><span class="font-size-2">Today, more than ever before, technology plays an important role in society. It is changing and will continue to change every aspect of how we live. It is changing the way we communicate, the way we do business, how we learn and teach, and even it’s changing the way our brains work.</span></p>
<p><span class="font-size-2">Because the arrival of technology, the learning environment is changing. Students have more options than they ever would have imagined. In olden days, people used to only learn at a classroom. But today, people just need a computer and WIFI. They learn when it is convenient for them, at home or a coffee shop. As the skills, knowledge, and needs of the student change, so does the role of the teacher.</span></p>
<p><span class="font-size-2">To provide the best possible learning experience, we as learning professionals have to adapt and find new ways to meet the changing needs of our learners. We must understand and embrace the meaning and the implications of these changes in the learning process.</span></p>
<p><span class="font-size-2">Here are four ways technology is changing how people learn:</span></p>
<p><span class="font-size-2"><strong>1) From Individual to Collaborative Learning</strong></span></p>
<p><span class="font-size-2">We used to mostly learn through individual-based courses and activities. There were fellow students, yes, but these were kept to a minimum. With the introduction of new technologies, however, learning has shifted from an almost individual-only endeavor to a collaborative activity.</span></p>
<p><span class="font-size-2">By collaborative learning, we mean a situation in which two or more people learn or attempt to learn something together. Speaking of collaborative learning we think about problem-based, discussions, reflection and other ways in which students are an active part in the learning process.</span></p>
<p><span class="font-size-2">Collaboration is no longer considered a nice add-on, it has become a necessary feature. The reality is that a plethora of tools facilitate or even encourage cooperation—from social network to instant messaging applications. Take Google Drive, Dropbox, Evernote, and popular task management software such as Astrid and Todoist. These apps are ready for collaboration.</span></p>
<p><span class="font-size-2">This is an inevitable consequence brought about by the Internet. We can now communicate, real-time or not, with people whenever and wherever we're able. In web sessions or web-enabled class, students from all over the world turn to each other for help and connect in virtual classrooms. They find others who share their interests and collaborative with them as their course progress.</span></p>
<p><span class="font-size-2">Today's much improved collaboration process and tools, more importantly, are filling the lack of "human touch," which has long been a criticism of online learning. Technology is no longer a barrier to genuine interaction. It is, instead, an enabler that affords students a humanized, learning experience—especially online. It not only supports cognitive processes, but also socio-emotional processes by involving learners in “getting to know each other, committing to social relationships, developing trust and belonging, and build a sense of on-line community.”</span></p>
<p><span class="font-size-2"><strong>2) From Passive to Active or Brain-based Learning</strong></span></p>
<p><span class="font-size-2">This shift from passive to active learning or from a teacher-centered to a student-centered approach is probably the most positive consequence of technology.</span></p>
<p><span class="font-size-2">Learners are no longer content-receptors merely taking down notes or listening to teachers talk for hours without pause. They now have a different set of expectations when it comes to learning. They actually want to participate or to have a say and maintain a sense of control over their lessons.</span></p>
<p><span class="font-size-2">These active learners usually turn to mobile apps to learn whenever and wherever they can. They turn to the web to directly access information and, eventually, solve a problem. They still turn to their teachers or instructors but only to seek guidance.</span></p>
<p><span class="font-size-2">Technology, then, becomes a tool for active learning. Through it, learners are able to research, communicate and solve problems. Whenever they navigate the web, they are able to directly access a huge library of information. The web offers them a plethora of data, not just text. The web is hypermedia, not linear. Most importantly, the web offers them freedom to learn according to paths of their own choosing. Learners can be authors and problem solvers, not just spectators.</span></p>
<p><span class="font-size-2">Passive activities are being outdated while teachers are now occupying another significant role as guides. Blackboard’s SEO Sig Behren confirmed this in an article he wrote for USNews last year."If we actually want to engage active learners, learning needs to become much more open, mobile, socia and analutical" he said..</span><br/> <br/> <span class="font-size-2"><strong>3) The Rise of Differentiated Instruction</strong></span></p>
<p><span class="font-size-2">Perhaps even more valuable than collaboration is the Web’s ability to bring complete personalization to the learning experience. Learners within any single 'class' are likely to have multiple needs to fulfill and not all of them aim toward the same learning goal. Each of them has his or her own set of concerns, agendas, abilities, values and priorities.</span></p>
<p><span class="font-size-2">This is why it's extremely crucial to apply different types of instruction to different learners. No single method can accommodate all their learning needs. A flexible and personalized approach to content delivery is a must.</span></p>
<p><span class="font-size-2">Technology, after all, not only facilitates collaborative learning, it also enables instructors to cater to the needs of individual learners. In fact, a hybrid of self-study, individualized instruction and group study has proven effective time and again. Carol Tomlinson, an expert on differentiation, has already documented the success of students who are taught based on their learning profiles and readiness levels.</span></p>
<p><span class="font-size-2">Technology, after all, not only facilitates collaborative learning, it also enables instructors to cater to the needs of individual learners. It provides students with different avenues to acquiring content; to the processing, constructing, or making sense of ideas. In fact, a hybrid of self-study, adaptive instruction and peer network support has proven effective time and again. Carol Tomlinson, an expert on differentiation, has already documented the success of students who are taught based on their learning profiles and readiness levels.</span></p>
<p><span class="font-size-2"><strong>4. The Phenomenon of Multitasking</strong></span></p>
<p><span class="font-size-2">Multi-tasking with technologies is perceived to be “easy”, especially among younger adults who are likely to be engaged in educational studies (Carrier, Cheever, Rosen, Benitez, & Chang, 2009). However, its proven that under most conditions, the brain cannot do two complex tasks at the same time. It can happen only when the two tasks are both very simple and when they don’t compete with each other for the same mental resources.</span></p>
<p><span class="font-size-2">Imagine a student switching from one tab to another, or from a desktop screen to a smartphone screen. It took him more than hour to finish your less-than-1000-words assigned reading. He remembered less than half of it and got some of his facts mixed up. The culprit, clearly, is his lack of focus. He multi-tasked and thus unable to sustain concentration on his studies.</span></p>
<p><span class="font-size-2">This rise in multi-tasking, easily distracted students has been a seemingly insurmountable challenge to eLearning professionals. Media multi-tasking negatively affects how they absorb and process information. (Posted by Karla Gutierrez on Thu, Feb 20, 2014,For More Valuable Reading Click <a href="http://info.shiftelearning.com/blog/bid/336775/Four-Ways-Technology-Is-Changing-How-People-Learn-Infographic" target="_blank">www.shiftelerning.com</a>)</span><br/> <br/> <span class="font-size-2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126298?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2233126298?profile=original" width="651" class="align-center"/></a></span></p>
Sarah Green·Pedagogy Of MOOCs And Benefits For Modern Professionals
tag:iconada.tv,2016-01-14:3600580:BlogPost:364803
2016-01-14T00:32:41.000Z
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<p><span class="font-size-2">Massive Open Online Courses, known under the widely used acronym MOOCs, have taken the modern education world by storm, offering a wide variety of options for students worldwide. Their greatest advantage is, of course, the fact they are provided for free or at low prices, which is why both people with no official education and those with a university degree are readily embracing the opportunities.</span></p>
<p><span class="font-size-2">Clearly, the rapid rise in…</span></p>
<p><span class="font-size-2">Massive Open Online Courses, known under the widely used acronym MOOCs, have taken the modern education world by storm, offering a wide variety of options for students worldwide. Their greatest advantage is, of course, the fact they are provided for free or at low prices, which is why both people with no official education and those with a university degree are readily embracing the opportunities.</span></p>
<p><span class="font-size-2">Clearly, the rapid rise in the number of platforms that provide such courses is mostly due to the advancements in web technologies. However, it is students’ motivation for constant improvement that keeps pushing the boundaries in the field. The fact that these courses are well thought-out and easy to follow additionally makes them an excellent resource for anyone willing to improve their career prospects.</span></p>
<p><span class="font-size-2">Pedagogical base Of MOOCs</span></p>
<p><span class="font-size-2">Even though recent reports suggest that online learning will hardly ever replace traditional educational settings, MOOCs certainly represent an efficient learning method since their pedagogy is developed in accordance with the needs of modern learners. Furthermore, given the fact they are mostly created by renowned educators, it is unsurprising that their design follows the highest educational standards.</span></p>
<p><span class="font-size-2">In relation to the pedagogy of MOOCs, Glance, Forsey and Riley give an excellent table that explains some of their key benefits. Namely, the authors represent different correlations between common features of MOOCs and specific pedagogical benefits these features lead to:<br/><br/><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126794?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2233126794?profile=original" width="467" class="align-center"/></a></span></p>
<p><span style="font-size: 10pt;" class="font-size-2">The paper further examines each of these aspects in more detail, concluding that MOOCs’ mode of delivery is essentially grounded in pedagogy of somewhat more traditional learning environments, which is a feature that speaks a lot about their efficiency. Evidently, such courses include multiple benefits for modern learners and create an ecosystem that largely contributes to personal and professional development.</span></p>
<p><strong><span class="font-size-2">Who takes MOOCs</span></strong></p>
<p><span class="font-size-2">Although it may be logical to assume that people with no other educational opportunities would be most likely to engage in open online courses, research shows that this is not the case. Somewhat surprisingly, the largest portion of online course-takers is comprised of current employees that already have a college diploma.</span></p>
<p><span class="font-size-2">Namely, a study by the University of Pennsylvania showed that 83% of current online learners already posses a two-year or four-year degree and that most of them have a stable job. Obviously, the groups of highly skilled staff seek to improve their professional skills, most notably those in programming and foreign languages, which seem to be the most popular online courses. Such trends may be attributed to the emergence of the global market, where there is a great demand for IT skills and where proficiency in foreign languages is certainly obligatory.</span></p>
<p><span class="font-size-2">Considering these reports, it seems that MOOCs are valued more among life-long learners and current professionals than by those who have no higher education whatsoever. In relation to this, Brandon Alcorn, project manager for global initiatives at Penn, notes that students are “using it as a job-training tool rather than an educational tool,” which clearly illustrates their dominant purpose.<br/><br/><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233130520?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2233130520?profile=original" width="500" class="align-center"/></a></span></p>
<p><strong><span class="font-size-2">Top MOOCs' platforms</span></strong></p>
<p><span class="font-size-2">The pilots in the MOOC arena such as Coursera and EdX are still among the most popular platforms that count thousands of course-takers and hundreds of different courses. Their greatest advantage is probably the fact that they offer courses designed by educators from prestigious universities, thus making high quality education available to worldwide communities. Even though these two still seem to dominate the industry, there are multiple other websites and platforms that aim to specialize for specific areas.</span></p>
<p><span class="font-size-2">Among other similar platforms, Udemy and Udacity have seen a rapid rise over the last few years, with more and more students turning to them for high quality courses. As opposed to many other platforms, these two offer courses designed by professionals currently working in their respective industries. Another interesting institution is Australian Upskilled that also offers both online and traditional courses that are specifically designed for modern Australian workforce to equip them with skills necessary for career advancement. Furthermore, the institution provides courses funded by the government to encourage development in specific areas, which is a great example of nationally-oriented strategy for improving education outcomes.</span></p>
<p><span class="font-size-2">Conclusion</span></p>
<p><span class="font-size-2">Considering the growing variety of education and professional training options available online, modern students and life-long learners certainly have a range of opportunities to improve their career prospects. The highest education standards, constant availability, as well as the convenient course design make MOOCs a favorite choice of global professionals.</span></p>
<p><br/><span class="font-size-2">Massive Open Online Courses, known under the widely used acronym MOOCs, have taken the modern education world by storm, offering a wide variety of options for students worldwide. Their greatest advantage is, of course, the fact they are provided for free or at low prices, which is why both people with no official education and those with a university degree are readily embracing the opportunities.</span></p>
<p><span class="font-size-2">Clearly, the rapid rise in the number of platforms that provide such courses is mostly due to the advancements in web technologies. However, it is students’ motivation for constant improvement that keeps pushing the boundaries in the field. The fact that these courses are well thought-out and easy to follow additionally makes them an excellent resource for anyone willing to improve their career prospects.</span></p>
<p><span class="font-size-2">Pedagogical base Of MOOCs</span></p>
<p><span class="font-size-2">Even though recent reports suggest that online learning will hardly ever replace traditional educational settings, MOOCs certainly represent an efficient learning method since their pedagogy is developed in accordance with the needs of modern learners. Furthermore, given the fact they are mostly created by renowned educators, it is unsurprising that their design follows the highest educational standards.</span></p>
<p><span class="font-size-2">In relation to the pedagogy of MOOCs, Glance, Forsey and Riley give an excellent table that explains some of their key benefits. Namely, the authors represent different correlations between common features of MOOCs and specific pedagogical benefits these features lead to:</span></p>
<p><span class="font-size-2">(Article Credit:Sarah Green, Saturday 21 February 2015)<a href="http://elearningindustry.com/pedagogy-of-moocs-benefits-modern-professionals">http://elearningindustry.com/pedagogy-of-moocs-benefits-modern-professionals</a></span></p>
CHRISTOPHER PAPPAS: 10 Creative Online Presentation Ideas For eLearning Professionals
tag:iconada.tv,2016-01-14:3600580:BlogPost:365046
2016-01-14T00:14:21.000Z
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<p><span class="font-size-2">How you present your eLearning content to your audience is critical. Engaging your learners requires a creative approach to visual design and, more often than not, effective online presentations are creative presentations. Luckily, there are several tools you can use to build your own presentation, such as Prezi, Aurasma, and Powtoon; all you need to do is bring in your fresh ideas. In this article, I´ll share 10 creative ideas for online presentations eLearning…</span></p>
<p><span class="font-size-2">How you present your eLearning content to your audience is critical. Engaging your learners requires a creative approach to visual design and, more often than not, effective online presentations are creative presentations. Luckily, there are several tools you can use to build your own presentation, such as Prezi, Aurasma, and Powtoon; all you need to do is bring in your fresh ideas. In this article, I´ll share 10 creative ideas for online presentations eLearning professionals may use in order to create an inspiring eLearning product and an unforgettable eLearning experience for their audience.</span><br/><br/><span class="font-size-2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126202?profile=original" target="_self"><img width="625" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126202?profile=RESIZE_1024x1024" width="625" class="align-center"/></a></span></p>
<p><strong><span class="font-size-3">Engage your audience.</span></strong><br/><br/><span class="font-size-2">An online presentation should never be a static activity. On the contrary; the more your audience participates, the more effective it is. Integrate as much interactivity as possible into your online presentation by including scenarios, eLearning games, and drag and drop interactions, always making sure that your navigation system is easy enough to use. Once your learners interact with your eLearning content, their levels of engagement automatically raise. Furthermore, consider leaving a thought-provoking question for the end of your online presentation; if you leave your learners with an interesting question they cannot answer right away, and you make them think about it hours after your online presentation is over, you have done a great job. Make sure, however, that this question will be answered later on in the eLearning course.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Take advantage of metaphors.</span></strong></span><br/><span class="font-size-2"><br/>A good metaphor brings an online presentation to life by simplifying a concept and further engaging your learners, as it helps them not only to get your idea instantly, but also leaves a lasting impression in their minds. In other words, by comparing a topic to a situation that your learners already know, you make it relevant, which facilitates the process this information gets transferred into their long-term memory. To incorporate metaphors into your online presentation, think of the point you want to make and use stock images that showcase the comparison. It may take you some time to find the appropriate metaphor, but keep in mind that the more unusual the metaphors you use are, the better they will stand out in the minds of your audience.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Tell a story.</span></strong></span><br/><span class="font-size-2"><br/>By integrating stories into your online presentation you can bring your learners to your world. No matter how many facts and figures you need to use for making your point, you can instantly turn boring material into something exciting by sharing a story behind it. Research the background of your subject matter, build a storyline around it, develop your characters, and let them narrate the facts. People love stories; storytelling is one of the best online presentation ideas in order for eLearning professionals to truly capture and engage their audiences, as are all by default more attracted to stories than to abstract ideas.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Add music.</span></strong></span><br/><span class="font-size-2"><br/>Adding a soundtrack to your online presentation will truly take it to another level. Music creates emotional responses, as it tells things words cannot express, communicates a feel-good vibe, and instantly connects people. Furthermore, strong melodic hooks become easily memorable, as they grab the attention of your audience and slip the parts of your eLearning content that are surrounded by music into their long-term memory. Just remember to give copyright credit to the composer and obey licensing laws.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Add videos.</span></strong></span><br/><span class="font-size-2"><br/>A good video can bring into your online presentation the life that static slides lack. eLearning videos can optimize the effectiveness of your online presentation, as long as you don’t use them too often; a maximum of three short video clips is more than enough. A good idea is to use well known movie clips, as when your learners recognize the material it is easier for them to make connections with the eLearning content presented. Furthermore, you can create and produce your own eLearning videos, so that you can be more focused on your eLearning content and directly communicate your eLearning objectives.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Replace bullet points with powerful images.</span></strong></span><br/><span class="font-size-2"><br/>While the adage “a picture is worth a thousand words” is pretty much as cliché as it gets, it is 100% true. Picture superiority effect is not a myth; images communicate concepts faster and more effectively, as they are more likely to be remembered than words, even if these words are only a few and presented as bullet points. But be careful; whether you use stock images or you create your own pictures, you always need to remember that for your visuals to be effective, they must be of high quality and relevant to your eLearning content. Low resolution, cheesy, unrealistic, and irrelevant to your topic images, will not only fail to get your point across, but they will also decrease the effectiveness of you eLearning content, as they can be distracting and confusing. All in all, don’t hesitate to be very selective and take the extra time to find or create aesthetically pleasing images that are directly related to your message.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Use animations.</span></strong></span><br/><span class="font-size-2"><br/>Animations don’t just eliminate language barriers; when used properly, they can turn your online presentation into an almost cinematic experience. However, as it happens with images, they simply don’t work if they are distracting. They can easily get irritating, so choose them carefully and don’t overwhelm your online presentation with lots of bells and whistles. Use tasteful animated characters to demonstrate key points and communicate your more complicated topics, and consider implementing a friendly narration to accompany them, in order to increase your learners’ engagement levels.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Include a small dose of humor.</span></strong></span><br/><span class="font-size-2"><br/>Using humor in eLearning can be tricky, either because there is a risk for your audience to get carried away as it may overshadow the subject matter, or your audience’s different humor levels may lead to misunderstandings. To make sure that you neither overdo it nor potentially offend any of your learners, add only small doses of humor and keep them inspirational and positive. If you have the slightest doubt that your witty joke could offend someone, leave it out. It may sound complicated to keep balance, but it is definitely worth giving it a try; humor is not only entertaining, but also capable to help your audience instantly relate to your eLearning content.</span><br/><span class="font-size-2"><br/><strong><span class="font-size-3">Include podcasts.</span></strong></span><br/><span class="font-size-2"><br/>Adding a podcast can be a very creative idea with respect to online presentations for eLearning. There is a variety of free podcast tools for creating your own cost-effective, approachable, and high quality podcasts. You can use them to incorporate stories, interviews, or even well-crafted open-ended questions. Podcasting, when done right, is a great way to engage your audience, especially its auditory members.</span><br/><span class="font-size-2"><br/><span class="font-size-3"><strong>Keep the surprises coming.</strong></span></span><br/><span class="font-size-2"><br/>Finally, consider not relying only on tried-and-tested recipes. To use your online presentation for creating a memorable eLearning experience you need to intrigue your audience by keeping the surprises coming. Enrich your message with eLearning tools and ways that your learners are not expecting and you can be certain that your online presentation will stay in your audience’s minds for a long, long, time.</span><br/><span class="font-size-2"><br/>Now that you can take advantage of these creative ideas for online presentations for eLearning, you may be looking for additional ways to bring a creative spark in your eLearning course. Read the article 7 Tips To Use Learners' Creativity In eLearning and explore how you can transform the most tedious subject matter into a unique and memorable eLearning experience. (Thursday 18 June 2015, Article Credit: <a href="http://elearningindustry.com/10-creative-online-presentation-ideas-elearning-professionals" target="_blank">CHRISTOPHER PAPPAS</a>) </span></p>
Creative Content Association Malaysia (CCAM)
tag:iconada.tv,2016-01-12:3600580:BlogPost:361352
2016-01-12T03:06:30.000Z
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<p><span class="font-size-2">Creative Content Association Malaysia (CCAM) is an industry led government funded association of the leading content creators in Malaysia formed in 2012 for the express purpose of promoting and exporting local content and creative services to overseas markets and international broadcasters. This will be done by utilizing the latest digital technology, creativity, as well as by exploiting the unique cultural of Malaysia.…</span></p>
<p></p>
<p><span class="font-size-2">Creative Content Association Malaysia (CCAM) is an industry led government funded association of the leading content creators in Malaysia formed in 2012 for the express purpose of promoting and exporting local content and creative services to overseas markets and international broadcasters. This will be done by utilizing the latest digital technology, creativity, as well as by exploiting the unique cultural of Malaysia.</span></p>
<p><span class="font-size-2">Objectives</span></p>
<p><span class="font-size-2">CCAM was established with the following objectives:</span></p>
<p><span class="font-size-2">To support the government efforts in the international marketing of Malaysian creative content.</span><br/> <span class="font-size-2">To discuss and disseminate information, potential market opportunities, and current news related to the creative content industry.</span><br/> <span class="font-size-2">To provide views, procedures, policy suggestions based on that which will be introduced by the Malaysian Government to assist creative content producers in increasing their efforts to export local content abroad.</span><br/> <span class="font-size-2">To develop strategies in the short and long term plans to increase the quality of content of members and to market them regionally and internationally.</span><br/> <span class="font-size-2">Mission</span></p>
<p><span class="font-size-2">CCAM’s mission is as follows:</span></p>
<p><span class="font-size-2">To collaborate with Developmental Agencies like FINAS, MDeC, SKMM and Matrade.</span><br/> <span class="font-size-2">To research into and penetrate international creative content markets.</span><br/> <span class="font-size-2">To assist in efforts to increase the skill and abilities in producing local creative content.</span><br/> <span class="font-size-2">To assist in optimising the commercialization and management of the intellectual property rights of local creative content.</span><br/> <span class="font-size-2">To participate in content market activities abroad; and</span><br/> <span class="font-size-2">To co-organize an annual event for the creative content industry with the aim of promoting Malaysia as a hub for content development</span></p>
<p><span class="font-size-2">Malaysia At A Glance</span></p>
<p><span class="font-size-2">Malaysia is a tropical nation in the Southeastern region of Asia, located between 2°and 7°North of the Equator. It consists of two geographical regions divided by the South China Sea. West Malaysia or Peninsular Malaysia shares a land border on the north with Thailand and is connected by the Johore Causeway on the south with Singapore. East Malaysia consisting of the island of Labuan and the states of Sabah & Sarawak, occupies the northern part of the island of Borneo, bordering Indonesia and Brunei. Centrally located in South East Asia, it serves as an important gateway to this part of the world that is home to over half of the global population.</span></p>
<p><span class="font-size-2">Geography</span></p>
<p><span class="font-size-2">The two distinct parts of Malaysia, separated from each other by the South China Sea, share a largely similar landscape. Malaysia’s size is similar to Norway but three quarters of the land is made up of ancient rainforests, shoreline mangrove and mountain top oak trees. A single kilometre plot of forest in Sabah or Sarawak may well contain more than 800 different species of trees. There is also a rich diversity of flowers, birds, ferns, insects and animals ranging from the Orang Utans to the elusive Sumatran rhino. Malaysia is a treasure trove of biodiversity. The Straits of Malacca, lying between Sumatra and West Malaysia, is arguably the most important shipping lane in the world. Malaysia also has 4,675km of stunning coastline with beautiful sandy beaches.</span></p>
<p><span class="font-size-2">People, Culture & Heritage</span></p>
<p><span class="font-size-2">Malaysia is a multi-racial, multi-cultural and multi-religious country with a rich cultural heritage. Malaysia has close to 28 million people, made-up of three main ethnic groups of Malays (51%), Chinese (24%), Indians (8%) and others minorities (17%). Its rich multi-cultural history presents a unique variety of food, traditions, festivals, arts & craft, costumes and even architectural styles. Malaysia is home to an array of languages and dialects from the Malay, Chinese and Indian traditions, with Bahasa Malaysia being the national language. English is widely spoken. All the major religions of the world have their devotees here as manifested in the number of beautiful mosques, churches, colourful temples and other place of worship that are scattered all over the country.</span></p>
<p><span class="font-size-2">Currency</span></p>
<p><span class="font-size-2">The Malaysia Currency is in Ringgit Malaysia (RM) and sen (cents). Notes are issued in RM1, RM5, RM10, RM50 and RM100 denominations while coins are in 5, 10, 20 and 50 sen denominations. As against the USD the exchange rate is RM3.03 to USD1. Foreign currencies can be exchanged at all banks and authorized money changers throuhout the country. Major credit cards are widely accepted.</span></p>
<p><span class="font-size-2">States</span></p>
<p><span class="font-size-2">Malaysia is made up of 13 states and three Federal Territories. The 11 states on Peninsular Malaysia are Perlis, Kedah, Penang, Perak, Selangor, Melaka, Negeri Sembilan, Kelantan, Terengganu, Pahang and Johor. Malaysia Borneo make up the rest. The three Federal Territories are Kuala Lumpur, Putrajaya (both in the Peninsular) and Labuan in Sabah.</span></p>
<p><span class="font-size-2">Malaysia has invested heavily in the development of this sector over the past 10 years. We will build on current initiatives already started by the Government and enhance their returns (under the National Creative Industry Policy managed by the Ministry of Information, Communication and Culture and the MSC Malaysia Creative Multimedia Content Initiative run by the Multimedia Development Corporation, or MDeC). Current efforts by Malaysian Communication and Multimedia Commission (MCMC) and other bodies such as the Access Forum, Content Forum and Consumer Forum have initiated interactions across the industry as a means to obtain feedback on the appropriate measures to further grow the industry.</span></p>
<p><span class="font-size-2">This initiative represents a new industry-led public-private collaboration to grow the export segment at 20 percent a year and the domestic segment at 13 percent a year. The opportunities for improvement lie in developing talent for content creation and services, in providing necessary funding for local productions and in marketing our creations and capabilities internationally. Beyond GNI benefits, this EPP will help preserve Malaysia’s unique culture and heritage for the 21st century and future generations.</span></p>
<p><span class="font-size-2">At present, Malaysia is behind benchmark countries in terms of creative industry contribution to GDP. The marked preference for foreign productions and content manifests itself in audience ratings of TV programmes as well as traffic to major international websites. On the other hand, local productions like the animation series "Upin and Ipin" or the popular documentary "Jejak Rasul" have enjoyed considerable local success and have even made inroads into regional markets. This indicates a latent demand for quality local productions in Malaysia and regionally, a demand that is still underserved today.</span></p>
<p><span class="font-size-2">Malaysia Film Industry</span></p>
<p><span class="font-size-2">There has been a tremendous increase in the production of multi-media contents including feature films and TV programs over the last 10 years more so after the implementation of the National Film Policy in 2005 and the National Creative Industry Policy of 2011. Funding, Incentives, training programs have been provided to make this sector more attractive for investments and provide more opportunities for industry players. The focus of the Policies is to develop the infrastructure and ecosystem of the local industry and to be able to create products of international appeal. The outcome of the Policies has seen an increasing interest in the cinema-going public and rapid growth in production from an average of 12 features a year in 2000 to 45 in 2011. It is expected that there will be at least 70 local films produced and screened in 2012.</span></p>
<p><span class="font-size-2">Currently, there are 119 cinemas throughout the country with 725 screens and more than 134,343 seats. Total box-office takings for 2011 is RM125 million from the total of RM601.91 million. Foreign films have always dominated Malaysian cinemas, television and home video rental outlets. In 2011 Hollywood films accounted for 62.5% of cinemas admissions while Malaysian films 20.75%, Hong Kong films 12.2% and 4.55% others.</span></p>
<p><span class="font-size-2">Apart from domestic market Malaysian films are exported to neighbouring Singapore and Brunei which share the same language. Some of the titles have penetrated the Philippines and Indonesian market and, of late, India and South Korea. Some products also found their way into television in South Africa.</span></p>
<p><span class="font-size-2">The TV programs industry has also seen tremendous growth due to the demand from the growth of satellite TV, Free to air stations as well as the growth of IPTV and cable.</span></p>
<p><span class="font-size-2">Film Events</span></p>
<p><span class="font-size-2">The most important film event is the annual Malaysian Film Festival. Backed by FINAS (National Film Development Corporation Malaysia) and usually held in the month of August. The Festival awards the artistic achievements of industry players.</span></p>
<p><span class="font-size-2">Another event is the Anugerah Skrin TV3 (TV3 Screen Award) which honours the best TV programmes as well as films. This event is organised by the country's foremost private TV station, TV3. Similar in concept, is Anugerah Seri Angkasa (Seri Angkasa Award), organised by the public television station Radio Television Malaysia (RTM). Seri Angkasa Award also includes radio programmes.</span></p>
<p><span class="font-size-2">Periodically Malaysia hosts international events such as Asia-Pacific Film Festival, the Commonwealth Film Festival and the Kuala Lumpur International Film Festival. Beside these, foreign cultural centers such as Japan, France, Germany and Australia also regularly hold their own film week.</span></p>
<p><span class="font-size-2">Rules & Regulation</span></p>
<p><span class="font-size-2">Activities in the local film bussiness require government licensing and the products subject to censorship before public release. A foreign production company wishing to film in Malaysia also requires a permit and subjected to government rules and regulations. To facilitate foreign film producers a special one stop center agency known as PUSPAL was set up. PUSPAL is the acronym for Central Agency for Application of Filming and performance by Foreign Artistes, which is under the Ministry of Information, Communication and Culture (it's Malay abbreviation, KPKK). PUSPAL's main function is to coordinate and consider all applications for filming and performance by foreign artistes and simplify the procedures.</span></p>
<p><span class="font-size-2">Procedures</span></p>
<p><span class="font-size-2">The foreign production company must first appoint a licensed local sponsor (a Production Service Company or Production Host) registered with FINAS, to handle the application procedure in Malaysia on its behalf.</span></p>
<p><span class="font-size-2">The sponsor's scope of responsibilities includes:</span></p>
<p><span class="font-size-2">Preparing a letter of undertaking and ensuring that the foreign producer abides by the terms and conditions set in thr JK-PUSPAL's (PUSPAL-COMMITTEE) approval letter;</span><br/> <span class="font-size-2">Obtaining a professional visit pass for artistes and crew members (referred to by its Malay acronym, PLIK) before filming begins;</span><br/> <span class="font-size-2">Ensuring that filming does not take place in security or prohibited areas; and</span><br/> <span class="font-size-2">Being present during all the filming session.</span><br/> <span class="font-size-2">A form for this application known as the KPKK/PUSPAL form can be obtained from the Cultural Policy Division, Ministry of Information, Communications and Culture Malaysia or downloaded from the KPKK website at <a href="http://www.kpkk.gov.my">http://www.kpkk.gov.my</a>. Completed forms for submission must be accompanied by the following supporting documents:</span></p>
<p><span class="font-size-2">Immigration form IM.12</span><br/> <span class="font-size-2">Performa Form B (LHDN or Inland Revenue)</span><br/> <span class="font-size-2">Form No.1 Royal Malaysia Custom Department (if filming equipment is brought in)</span><br/> <span class="font-size-2">Script/storyboards/synopsis for each segment/blueprint/treatment</span><br/> <span class="font-size-2">The documents must be submitted at least 30 days before filming begins.</span></p>
CREATIVE ECONOMY REPORT 2010 (1)
tag:iconada.tv,2016-01-08:3600580:BlogPost:361147
2016-01-08T11:19:15.000Z
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<p><span class="font-size-3"><strong>Chapter 1·Concept and context of the creative economy</strong></span></p>
<p><strong><span class="font-size-2">1.1 Evolving concepts and definitions</span></strong></p>
<p><span class="font-size-2">Fundamental to an understanding of the creative </span><span class="font-size-2">economy — what it comprises and how it functions in the </span><span class="font-size-2">economies of both developed and developing countries — </span><span class="font-size-2">are…</span></p>
<p><span class="font-size-3"><strong>Chapter 1·Concept and context of the creative economy</strong></span></p>
<p><strong><span class="font-size-2">1.1 Evolving concepts and definitions</span></strong></p>
<p><span class="font-size-2">Fundamental to an understanding of the creative </span><span class="font-size-2">economy — what it comprises and how it functions in the </span><span class="font-size-2">economies of both developed and developing countries — </span><span class="font-size-2">are the concepts of “cultural industries” and “creative industries”.</span><br/> <span class="font-size-2"><br/> Much debate surrounds these terms. This chapter </span><span class="font-size-2">provides an overview of the development of the concepts of </span><span class="font-size-2">“creativity” throughout this decade leading to what became </span><span class="font-size-2">known as the “creative economy”. Our intention is not to </span><span class="font-size-2">reach a final consensus about concepts, but to understand its</span><br/> <span class="font-size-2">evolution. It also considers the emergence of the associated </span><span class="font-size-2">concepts of “creative class”, “creative cities”, “creative clusters”, </span><span class="font-size-2">as well as the most recent innovative notions relating to </span><span class="font-size-2">the “experience economy” “creative commons” and “creative </span><span class="font-size-2">ecology”. The major drivers of the growth of the creative</span><br/> <span class="font-size-2">economy and its multiple dimensions are examined in the </span><span class="font-size-2">light of recent developments including the world economic </span><span class="font-size-2">crisis. This chapter also provides evidence on the economic </span><span class="font-size-2">contribution of the creative industries to the economies of </span><span class="font-size-2">various advanced countries.</span><br/> <span class="font-size-2"><br/> <strong>1.1.1 Creativity</strong></span><br/> <span class="font-size-2"><br/> There is no simple definition of “creativity” </span><span class="font-size-2">that encompasses all the various dimensions of</span><br/> <span class="font-size-2">this phenomenon. Indeed, in the field of psychology, </span><span class="font-size-2">where individual creativity has been most</span><br/> <span class="font-size-2">widely studied, there is no agreement as to </span><span class="font-size-2">whether creativity is an attribute of people or a</span><br/> <span class="font-size-2">process by which original ideas are generated.<br/></span> <span class="font-size-2"><br/> Nevertheless, the characteristics of creativity in </span><span class="font-size-2">different areas of human endeavour can at least be</span><br/> <span class="font-size-2">articulated. For example, it can be suggested that:</span><br/> <span class="font-size-2"><br/> ■ artistic creativity involves imagination and a </span><span class="font-size-2">capacity to generate original ideas and novel </span><span class="font-size-2">ways of interpreting the world, expressed in </span><span class="font-size-2">text, sound and image;</span><br/> <span class="font-size-2"><br/> ■ scientific creativity involves curiosity and a willingness to </span><span class="font-size-2">experiment and make new connections in problemsolving; </span><span class="font-size-2">and</span><br/> <span class="font-size-2"><br/> ■ economic creativity is a dynamic process leading towards </span><span class="font-size-2">innovation in technology, business practices, marketing, </span><span class="font-size-2">etc., and is closely linked to gaining competitive advantages </span><span class="font-size-2">in the economy.</span></p>
<p><span class="font-size-2">All of the above involve technological creativity to </span><span class="font-size-2">greater or lesser extent and are interrelated, as shown in </span><span class="font-size-2">figure 1.1. Regardless of the way in which creativity is interpreted, </span><span class="font-size-2">there is no doubt that, by definition, it is a key </span><span class="font-size-2">element in defining the scope of the creative industries and </span><span class="font-size-2">the creative economy.<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126652?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126652?profile=RESIZE_1024x1024" width="525" class="align-center"/></a><br/> <span class="font-size-2">Another approach is to consider creativity as a measurable </span><span class="font-size-2">social process. From the economic point of view, </span><span class="font-size-2">however, a relationship between creativity and socioeconomic </span><span class="font-size-2">development is not apparent, particularly the </span><span style="font-size: 10pt;">extent to which creativity contributes to economic growth. </span></span></p>
<p><span style="font-size: 10pt;"><br/> In </span><span style="font-size: 10pt;">this case, it is important to measure not only economic outcomes </span><span style="font-size: 10pt;">of creativity but also the cycle of creative activity </span><span style="font-size: 10pt;">through the interplay of four forms of capital — social cultural, </span><span style="font-size: 10pt;">human, and structural or institutional — as the determinants </span><span style="font-size: 10pt;">of the growth of creativity: the creative capital. <br/> <br/> The </span><span style="font-size: 10pt;">accumulated effects of these determinants are the “outcomes </span><span style="font-size: 10pt;">of creativity”. This is the framework of the creativity index, </span><span style="font-size: 10pt;">also known as the 5 Cs model.1 There are debates about a </span><span style="font-size: 10pt;">possible establishment of a European Creativity Index to be </span><span style="font-size: 10pt;">applied to the countries of the European Union; the proposal </span><span style="font-size: 10pt;">builds upon existing indices and suggests a model with 32 </span><span style="font-size: 10pt;">culture-related indicators grouped in five pillars of creativity:</span></p>
<p><span class="font-size-2">human capital, technology, the institutional environment, </span><span class="font-size-2">the social environment, openness and diversity. The goal of </span><span class="font-size-2">such an index would be to highlight the potential of including </span><span class="font-size-2">culture-based indicators in existing frameworks related to </span><span class="font-size-2">creativity, innovation and socio-economic development with </span><span class="font-size-2">a view to assessing the creative performance of EU member </span><span class="font-size-2">states and facilitating policy making.</span><br/> <br/> <span class="font-size-2">Creativity can also be defined as the process by which </span><span class="font-size-2">ideas are generated, connected and transformed into things </span><span class="font-size-2">that are valued. <span class="font-size-1">2</span> In other words, creativity is the use of ideas </span><span class="font-size-2">to produce new ideas. In this conceptual debate it should be </span><span class="font-size-2">pointed out that creativity is not the same as innovation.</span><br/> <span class="font-size-2">Originality means creating something from nothing or </span><span class="font-size-2">reworking something that already exists. <br/> <br/> Nowadays the concept </span><span class="font-size-2">of innovation has been enlarged beyond a functional, </span><span class="font-size-2">scientific or technological nature to also reflect aesthetic or </span><span class="font-size-2">artistic changes. Recent studies point to the distinction </span><span class="font-size-2">between “soft” and technological innovation but recognize </span><span class="font-size-2">that they are interrelated<span class="font-size-1">. 3</span> <br/> <br/> There are high rates of soft innovation </span><span class="font-size-2">in the creative industries, particularly in music, books,</span><br/> <span class="font-size-2">arts, fashion, film and video games. The focus is mainly on </span><span class="font-size-2">new products or services rather than processes.</span><br/> <br/> <strong><span class="font-size-2">1.1.2 Creative goods and services</span></strong><br/> <br/> <span class="font-size-2">The scope of the creative economy is determined by </span><span class="font-size-2">the extent of the creative industries. Defining “creative </span><span class="font-size-2">industries”, however, is a matter of considerable inconsistency </span><span class="font-size-2">and disagreement in the academic literature and in policymaking </span><span class="font-size-2">circles, especially in relation to the parallel concept </span><span class="font-size-2">of “cultural industries”. Sometimes a distinction is made </span><span class="font-size-2">between the creative and the cultural industries; sometimes </span><span class="font-size-2">the two terms are used interchangeably. A sensible way to </span><span class="font-size-2">proceed is to begin by defining the goods and services that </span><span class="font-size-2">these industries produce.<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233150094?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233150094?profile=RESIZE_1024x1024" width="525" class="align-center"/></a></span><br/> <span class="font-size-2">The concept of “cultural products” can be articulated </span><span class="font-size-2">if the notion of “culture” is accepted whether in its anthropological </span><span class="font-size-2">or its functional sense. It might be argued, for example, </span><span class="font-size-2">that cultural goods and services such as artwork, musical </span><span class="font-size-2">performances, literature, film and television programmes, and</span><br/> <span class="font-size-2">video games share the following characteristics:</span><br/> <br/> <span class="font-size-2">■ their production requires some input of human creativity;</span><br/> <span class="font-size-2">■ they are vehicles for symbolic messages to those who consume </span><span class="font-size-2">them, i.e., they are more than simply utilitarian insofar </span><span class="font-size-2">as they additionally serve some larger, communicative </span><span class="font-size-2">purpose; and</span><br/> <span class="font-size-2">■ they contain, at least potentially, some intellectual property </span><span class="font-size-2">that is attributable to the individual or group producing the </span><span class="font-size-2">good or service.</span><br/> <br/> <span class="font-size-2">An alternative or additional definition of “cultural </span><span class="font-size-2">goods and services” derives from a consideration of the type </span><span class="font-size-2">of value that they embody or generate. That is, it can be suggested </span><span class="font-size-2">that these goods and services have cultural value in <span class="font-size-2">addition to whatever commercial value they may possess and</span><br/> <span class="font-size-2">that this cultural value may not be fully measurable in monetary</span><br/> <span class="font-size-2">terms. In other words, cultural activities of various</span><br/> <span class="font-size-2">sorts and the goods and services that they produce are valued</span><br/> <span class="font-size-2">— both by those who make them and by those who consume</span><br/> <span class="font-size-2">them — for social and cultural reasons that are likely</span><br/> <span class="font-size-2">to complement or transcend a purely economic valuation.</span><br/> <span class="font-size-2">These reasons might include aesthetic considerations or the</span><br/> <span class="font-size-2">contribution of the activities to community understanding</span><br/> <span class="font-size-2">of cultural identity. If such cultural value can be identified,</span><br/> <span class="font-size-2">it may serve as an observable characteristic by which to</span><br/> <span class="font-size-2">distinguish cultural goods and services as compared with</span><br/> <span class="font-size-2">different types of commodities.</span><br/> <span class="font-size-2">Defined in either or both of these ways, “cultural</span><br/> <span class="font-size-2">goods and services” can be seen as a subset of a wider category</span><br/> <span class="font-size-2">that can be called “creative goods and services”, whose</span><br/> <span class="font-size-2">production requires some reasonably significant level of creativity.</span><br/> <span class="font-size-2">Thus the “creative” category extends beyond cultural</span><br/> <span class="font-size-2">goods and services as defined above to include products such</span><br/> <span class="font-size-2">as fashion and software. These latter can be seen as essentially</span><br/> <span class="font-size-2">commercial products, but their production does involve</span><br/> <span class="font-size-2">some level of creativity. This distinction provides a basis for</span><br/> <span class="font-size-2">differentiating between cultural and creative industries, as is</span><br/> <span class="font-size-2">discussed in the following sections.</span></span></p>
<p><a href="http://unctad.org/en/Pages/DITC/CreativeEconomy/Creative-Economy-Programme.aspx" target="_blank" style="font-size: 10pt;">LInk: UNCTAD</a> <br/> <a href="http://unctad.org/en/Docs/ditctab20103_en.pdf" target="_blank" style="font-size: 8pt;">Link: Creative Economy Report 2010</a></p>
CREATIVE ECONOMY REPORT 2010 (2)
tag:iconada.tv,2016-01-06:3600580:BlogPost:361253
2016-01-06T04:59:53.000Z
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<p><span class="font-size-3"><strong>1.1.3 Cultural industries</strong></span></p>
<p><span class="font-size-2">The term “culture industry” appeared in the post-war </span><span class="font-size-2">period as a radical critique of mass entertainment by members </span><span class="font-size-2">of the Frankfurt school led by Theodor Adorno and </span><span class="font-size-2">Max Horkheimer, followed subsequently by writers such as </span><span class="font-size-2">Herbert Marcuse.4 At that time,…</span></p>
<p><span class="font-size-3"><strong>1.1.3 Cultural industries</strong></span></p>
<p><span class="font-size-2">The term “culture industry” appeared in the post-war </span><span class="font-size-2">period as a radical critique of mass entertainment by members </span><span class="font-size-2">of the Frankfurt school led by Theodor Adorno and </span><span class="font-size-2">Max Horkheimer, followed subsequently by writers such as </span><span class="font-size-2">Herbert Marcuse.4 At that time, “culture industry” was a</span><br/> <span class="font-size-2">concept intended to shock; culture and industry were argued </span><span class="font-size-2">to be opposites and the term was used in polemics against the </span><span class="font-size-2">limitations of modern cultural life. It continued to be used as </span><span class="font-size-2">an expression of contempt for the popular newspapers, </span><span class="font-size-2">movies, magazines and music that distracted the masses.5</span><br/> <span class="font-size-2">In the present day, there remain different interpretations </span><span class="font-size-2">of culture as an industry. For some, the notion of </span><span class="font-size-2">“cultural industries” evokes dichotomies such as elite versus </span><span class="font-size-2">mass culture, high versus popular culture, and fine arts versus </span><span class="font-size-2">commercial entertainment. More generally, however, the</span><br/> <span class="font-size-2">proposition that the cultural industries are simply those </span><span class="font-size-2">industries that produce cultural goods and services, typically </span><span class="font-size-2">defined along the lines outlined above, has gained greater </span><span class="font-size-2">acceptance.</span><br/> <span class="font-size-2"><br/> In UNESCO, for example, the cultural industries are </span><span class="font-size-2">regarded as those industries that “combine the creation, </span><span class="font-size-2">production and commercialization of contents which are </span><span class="font-size-2">intangible and cultural in nature. These contents are typically </span><span class="font-size-2">protected by copyright and they can take the form of </span><span class="font-size-2">goods or services”. An important aspect of the cultural </span><span class="font-size-2">industries, according to UNESCO, is that they are “central</span><br/> <span class="font-size-2">in promoting and maintaining cultural diversity and in </span><span class="font-size-2">ensuring democratic access to culture”.6 This two-fold </span><span class="font-size-2">nature — combining the cultural and the economic — gives </span><span class="font-size-2">the cultural industries a distinctive profile.</span><br/> <span class="font-size-2"><br/> Similarly, in France, the “cultural industries” have </span><span class="font-size-2">recently been defined as a set of economic activities that combine </span><span class="font-size-2">the functions of conception, creation and production of </span><span class="font-size-2">culture with more industrial functions in the large-scale manufacture </span><span class="font-size-2">and commercialization of cultural products.7 Such</span><br/> <span class="font-size-2">a definition seems to initiate a process leading towards a </span><span class="font-size-2">broader interpretation of the cultural industries than that </span><span class="font-size-2">implied by traditional notions of the “cultural sector”.</span><br/> <span class="font-size-2"><br/> <strong><span class="font-size-3">1.1.4 Cultural economics</span></strong></span><br/> <span class="font-size-2"><br/> Many politicians and academics, particularly in </span><span class="font-size-2">Europe and Latin America, use the concept of “cultural economics” </span><span class="font-size-2">or the term “economy of culture” when dealing </span><span class="font-size-2">with the economic aspects of cultural policy. Moreover, </span><span class="font-size-2">many artists and intellectuals feel uncomfortable with the </span><span class="font-size-2">emphasis given to market aspects in the debate on the creative </span><span class="font-size-2">industries and hence the creative economy. “Cultural</span><br/> <span class="font-size-2">economics” is the application of economic analysis to all of </span><span class="font-size-2">the creative and performing arts, the heritage and cultural </span><span class="font-size-2">industries, whether publicly or privately owned. It is concerned </span><span class="font-size-2">with the economic organization of the cultural sector </span><span class="font-size-2">and with the behaviour of producers, consumers and governments </span><span class="font-size-2">in this sector. The subject includes a range of </span><span class="font-size-2">approaches, mainstream and radical, neoclassical, welfare </span><span class="font-size-2">economics, public policy and institutional economics.8</span><br/> <span class="font-size-2"><br/> While the theoretical and economic analysis in this report </span><span class="font-size-2">takes into account the principles of cultural economics as a </span><span class="font-size-2">discipline, the purpose is to better understand the dynamics of </span><span class="font-size-2">creativity and its overall interactions with the world economy, </span><span class="font-size-2">including its multidisciplinary dimension in which cultural</span><br/> <span class="font-size-2">policies interact with technological and trade policies.</span><br/> <span class="font-size-2"><br/> <strong><span class="font-size-3">1.1.5 Creative industries</span></strong></span><br/> <span class="font-size-2"><br/> Usage of the term “creative industries” varies among </span><span class="font-size-2">countries. It is of relatively recent origin, emerging in </span><span class="font-size-2">Australia in 1994 with the launching of the report, Creative </span><span class="font-size-2">Nation. It gained wider exposure in 1997, when policymakers </span><span class="font-size-2">at the United Kingdom’s Department of Culture, Media and</span><br/> <span class="font-size-2">Sport set up the Creative Industries Task Force. It is noteworthy </span><span class="font-size-2">that the designation “creative industries” that has </span><span class="font-size-2">developed since then has broadened the scope of cultural </span><span class="font-size-2">industries beyond the arts and has marked a shift in approach </span><span class="font-size-2">to potential commercial activities that until recently were</span><br/> <span class="font-size-2">regarded purely or predominantly in non-economic terms.9</span></p>
<p><span class="font-size-2">A number of different models have been put forward in </span><span class="font-size-2">recent years as a means of providing a systematic understanding </span><span class="font-size-2">of the structural characteristics of the creative industries.</span><br/> <span class="font-size-2">The following paragraphs review four of these models, highlighting </span><span class="font-size-2">the different classification systems that they imply for </span><span class="font-size-2">the creative economy. Each model has a particular rationale, </span><span class="font-size-2">depending on underlying assumptions about the purpose and </span><span class="font-size-2">mode of operation of the industries. Each one leads to a </span><span class="font-size-2">somewhat different basis for classification into “core” and </span><span class="font-size-2">“peripheral” industries within the creative economy, emphasizing </span><span class="font-size-2">once again the difficulties in defining the “creative sector” </span><span class="font-size-2">that were discussed earlier. The four models are as follows:</span></p>
<p><span class="font-size-2">■ UK DCMS model. This model derives from the impetus in </span><span class="font-size-2">the late 1990s in the United Kingdom to reposition the </span><span class="font-size-2">British economy as an economy driven by creativity and </span><span class="font-size-2">innovation in a globally competitive world. “Creative </span><span class="font-size-2">industries” are defined as those requiring creativity, skill </span><span class="font-size-2">and talent, with potential for wealth and job creation </span><span class="font-size-2">through the exploitation of their intellectual property </span><span class="font-size-2">(DCMS, 2001). Virtually all of the 13 industries included </span><span class="font-size-2">in the DCMS classification could be seen as “cultural” in </span><span class="font-size-2">the terms defined earlier; however, the Government of the </span><span class="font-size-2">United Kingdom has preferred to use the term “creative” </span><span class="font-size-2">industries to describe this grouping, apparently to sidestep </span><span class="font-size-2">possible high-culture connotations of the word “cultural”.</span></p>
<p><span class="font-size-2">■ Symbolic texts model. This model is typical of the approach to</span><br/> <span class="font-size-2">the cultural industries arising from the critical-culturalstudies</span><br/> <span class="font-size-2">tradition as it exists in Europe and especially the</span><br/> <span class="font-size-2">United Kingdom (Hesmondhalgh, 2002). This approach</span><br/> <span class="font-size-2">sees the “high” or “serious” arts as the province of the</span><br/> <span class="font-size-2">social and political establishment and therefore focuses</span><br/> <span class="font-size-2">attention instead on popular culture. The processes by</span><br/> <span class="font-size-2">which the culture of a society is formed and transmitted</span><br/> <span class="font-size-2">are portrayed in this model via the industrial production,</span><br/> <span class="font-size-2">dissemination and consumption of symbolic texts or messages,</span><br/> <span class="font-size-2">which are conveyed by means of various media such</span><br/> <span class="font-size-2">as film, broadcasting and the press.</span></p>
<p><span class="font-size-2">■ Concentric circles model. This model is based on the proposition</span><br/> <span class="font-size-2">that it is the cultural value of cultural goods that gives</span><br/> <span class="font-size-2">these industries their most distinguishing characteristic.</span><br/> <span class="font-size-2">Thus the more pronounced the cultural content of a</span><br/> <span class="font-size-2">particular good or service, the stronger is the claim for</span><br/> <span class="font-size-2">inclusion of the industry producing it (Throsby, 2001).</span><br/> <span class="font-size-2">The model asserts that creative ideas originate in the core</span><br/> <span class="font-size-2">creative arts in the form of sound, text and image and that</span><br/> <span class="font-size-2">these ideas and influences diffuse outwards through a</span><br/> <span class="font-size-2">series of layers or “concentric circles”, with the proportion</span><br/> <span class="font-size-2">of cultural to commercial content decreasing as one</span><br/> <span class="font-size-2">moves further outwards from the centre. This model has</span><br/> <span class="font-size-2">been the basis for classifying the creative industries in</span><br/> <span class="font-size-2">Europe in the recent study prepared for the European</span><br/> <span class="font-size-2">Commission (KEA European Affairs, 2006).</span></p>
<p><span class="font-size-2">■ WIPO copyright model. This model is based on industries</span><br/> <span class="font-size-2">involved directly or indirectly in the creation, manufacture,</span><br/> <span class="font-size-2">production, broadcast and distribution of copyrighted</span><br/> <span class="font-size-2">works (World Intellectual Property Organization, 2003).</span><br/> <span class="font-size-2">The focus is thus on intellectual property as the embodiment</span><br/> <span class="font-size-2">of the creativity that has gone into the making of</span><br/> <span class="font-size-2">the goods and services included in the classification. A distinction</span><br/> <span class="font-size-2">is made between industries that actually produce</span><br/> <span class="font-size-2">the intellectual property and those that are necessary to</span><br/> <span class="font-size-2">convey the goods and services to the consumer. A further</span><br/> <span class="font-size-2">group of “partial” copyright industries comprises those</span><br/> <span class="font-size-2">where intellectual property is only a minor part of their</span><br/> <span class="font-size-2">operation (see chapter 6).<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126599?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126599?profile=RESIZE_1024x1024" width="525" class="align-center"/></a></span></p>
<p><span class="font-size-2">Table 1.1 summarizes the industries included in each</span><br/> <span class="font-size-2">model. The UK DCMS model makes no distinction between</span><br/> <span class="font-size-2">the industries included, but the other three designate a group</span><br/> <span class="font-size-2">of “core” industries, i.e., those whose inclusion is central to</span><br/> <span class="font-size-2">the definition adopted in each case. It is apparent that the</span><br/> <span class="font-size-2">contents of the core differ markedly among these three models;</span><br/> <span class="font-size-2">for example, the creative arts, which are the epicentre of</span> <br/> <span class="font-size-2">the concentric circles model, are regarded as peripheral in the</span><br/> <span class="font-size-2">symbolic texts construction.</span></p>
<p><span class="font-size-2">There is no “right” or “wrong” model of the creative</span><br/> <span class="font-size-2">industries, simply different ways of interpreting the structural</span><br/> <span class="font-size-2">characteristics of creative production. The attractiveness of</span><br/> <span class="font-size-2">the various models may therefore be different, depending on</span><br/> <span class="font-size-2">the analytical purpose. From the viewpoint of statistical data</span><br/> <span class="font-size-2">collection, however, a standardized set of definitions and a</span><br/> <span class="font-size-2">common classification system are needed as a basis for</span><br/> <span class="font-size-2">designing a workable framework for dealing with the creative</span><br/> <span class="font-size-2">industries within the larger standard industrial classification</span><br/> <span class="font-size-2">systems that apply across the whole economy.</span></p>
<p><span class="font-size-3"><strong>1.1.6 The UNCTAD classification of the creative industries</strong></span></p>
<p><span class="font-size-2">A significant landmark in embracing the concept of</span><br/> <span class="font-size-2">the “creative industries” was the UNCTAD XI Ministerial</span><br/> <span class="font-size-2">Conference in 2004. At this conference, the topic of creative</span><br/> <span class="font-size-2">industries was introduced into the international economic</span><br/> <span class="font-size-2">and development agenda, drawing upon recommendations</span><br/> <span class="font-size-2">made by a High-level Panel on Creative Industries and</span><br/> <span class="font-size-2">Development. This topic is further elaborated in chapter 9.</span><br/> <span class="font-size-2">The UNCTAD approach to the creative industries</span><br/> <span class="font-size-2">relies on enlarging the concept of “creativity” from activities</span><br/> <span class="font-size-2">having a strong artistic component to “any economic activity</span><br/> <span class="font-size-2">producing symbolic products with a heavy reliance on</span><br/> <span class="font-size-2">intellectual property and for as wide a market as possible”10</span><br/> <span class="font-size-2">(UNCTAD, 2004). UNCTAD makes a distinction between</span><br/> <span class="font-size-2">“upstream activities” (traditional cultural activities such as</span><br/> <span class="font-size-2">performing arts or visual arts) and “downstream activities”</span><br/> <span class="font-size-2">(much closer to the market, such as advertising, publishing</span><br/> <span class="font-size-2">or media-related activities) and argues that the second group</span><br/> <span class="font-size-2">derives its commercial value from low reproduction costs and</span><br/> <span class="font-size-2">easy transfer to other economic domains. From this perspective,</span><br/> <span class="font-size-2">cultural industries make up a subset of the creative</span><br/> <span class="font-size-2">industries.</span></p>
<p><span class="font-size-2">Creative industries are vast in scope, dealing with the</span><br/> <span class="font-size-2">interplay of various sectors. These creative sectors range from</span><br/> <span class="font-size-2">activities rooted in traditional knowledge and cultural heritage</span><br/> <span class="font-size-2">such as art crafts, and cultural festivities, to more technology</span><br/> <span class="font-size-2">and services-oriented subgroups such as audiovisuals</span><br/> <span class="font-size-2">and the new media. The UNCTAD classification of creative</span><br/> <span class="font-size-2">industries is divided into four broad groups: heritage, arts,</span><br/> <span class="font-size-2">media and functional creations. These groups are in turn</span><br/> <span class="font-size-2">divided into nine subgroups, as presented in figure 1.3.</span><span class="font-size-2"><br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126680?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126680?profile=RESIZE_1024x1024" width="525" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233144883?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233144883?profile=RESIZE_1024x1024" width="525" class="align-center"/></a><br/> The rationale behind this classification is the fact that</span><br/> <span class="font-size-2">most countries and institutions include various industries</span><br/> <span class="font-size-2">under the heading “creative industries”, but very few try to</span><br/> <span class="font-size-2">classify these industries in domains, groups or categories. Yet</span><br/> <span class="font-size-2">doing so would facilitate an understanding of the cross-sectoral</span><br/> <span class="font-size-2">interactions as well as of the broad picture. This classification</span><br/> <span class="font-size-2">could also be used to provide consistency in quantitative</span><br/> <span class="font-size-2">and qualitative analysis. It should be noted that all trade</span><br/> <span class="font-size-2">statistics presented in this report are based on this classification.</span><br/> <span class="font-size-2">According to this classification, the creative industries</span><br/> <span class="font-size-2">comprise four large groups, taking into account their distinct</span><br/> <span class="font-size-2">characteristics. These groups, which are heritage, arts, media</span><br/> <span class="font-size-2">and functional creations, are described in figure 1.3.</span></p>
<p><span class="font-size-2">■ Heritage. Cultural heritage is identified as the origin of all</span><br/> <span class="font-size-2">forms of arts and the soul of cultural and creative industries.</span><br/> <span class="font-size-2">It is the starting point of this classification. It is</span><br/> <span class="font-size-2">heritage that brings together cultural aspects from the</span><br/> <span class="font-size-2">historical, anthropological, ethnic, aesthetic and societal</span><br/> <span class="font-size-2">viewpoints, influences creativity and is the origin of a</span><br/> <span class="font-size-2">number of heritage goods and services as well as cultural</span><br/> <span class="font-size-2">activities. This group is therefore divided into two</span><br/> <span class="font-size-2">subgroups:</span></p>
<p><span class="font-size-2">– Traditional cultural expressions: art crafts, festivals and celebrations;</span><br/> <span class="font-size-2">and</span><br/> <span class="font-size-2">– Cultural sites: archaeological sites, museums, libraries,</span><br/> <span class="font-size-2">exhibitions, etc.</span></p>
<p><span class="font-size-2">■ Arts. This group includes creative industries based purely</span><br/> <span class="font-size-2">on art and culture. Artwork is inspired by heritage, identity</span><br/> <span class="font-size-2">values and symbolic meaning. This group is divided</span><br/> <span class="font-size-2">into two large subgroups:</span><br/> <span class="font-size-2">– Visual arts: painting, sculpture, photography and</span><br/> <span class="font-size-2">antiques; and</span><br/> <span class="font-size-2">– Performing arts: live music, theatre, dance, opera, circus,</span><br/> <span class="font-size-2">puppetry, etc.</span></p>
<p><span class="font-size-2">■ Media. This group covers two subgroups of media that produce</span><br/> <span class="font-size-2">creative content with the purpose of communicating</span><br/> <span class="font-size-2">with large audiences (“new media” is classified separately):</span><br/> <span class="font-size-2">– Publishing and printed media: books, press and other publications;</span><br/> <span class="font-size-2">and</span><br/> <span class="font-size-2">– Audiovisuals: film, television, radio</span><br/> <span class="font-size-2">and other broadcasting.</span></p>
<p><span class="font-size-2">■ Functional creations.This group comprises</span><br/> <span class="font-size-2">more demand-driven and</span><br/> <span class="font-size-2">services-oriented industries creating</span><br/> <span class="font-size-2">goods and services with functional</span><br/> <span class="font-size-2">purposes. It is divided into</span><br/> <span class="font-size-2">the following subgroups:</span><br/> <span class="font-size-2">– Design: interior, graphic, fashion,</span><br/> <span class="font-size-2">jewellery, toys;</span><br/> <span class="font-size-2">– New media: architectural, advertising,</span><br/> <span class="font-size-2">cultural and recreational,</span><br/> <span class="font-size-2">creative research and development</span><br/> <span class="font-size-2">(R&D), digital and other</span><br/> <span class="font-size-2">related creative services.</span> <br/> <span class="font-size-2">– Creative services: architectural, advertising, cultural and</span><br/> <span class="font-size-2">recreational, creative research and development (R&D),</span><br/> <span class="font-size-2">digital and other related creative services.</span><br/> <span class="font-size-2">There is an ongoing debate about whether science and</span><br/> <span class="font-size-2">R&D are components of the creative economy, and whether</span><br/> <span class="font-size-2">creative experimentation activities can be considered R&D.</span><br/> <span class="font-size-2">Recent empirical research has begun to analyse the interactions</span><br/> <span class="font-size-2">between research, science and the dynamics of the</span><br/> <span class="font-size-2">creative economy. In UNCTAD’s approach, creativity and</span><br/> <span class="font-size-2">knowledge are embedded in scientific creations in the same</span><br/> <span class="font-size-2">way as in artistic creations. In order to nurture the creative</span><br/> <span class="font-size-2">economy, it recommends that governments regularly assess</span><br/> <span class="font-size-2">the conditions for technology acquisition and upgrading and</span><br/> <span class="font-size-2">implement and review their science, technology and innovation</span><br/> <span class="font-size-2">policies, including information and communications</span><br/> <span class="font-size-2">technologies (ICTs) and their implications for development.</span><br/> <span class="font-size-2">Lately, the term Science 2.0 and Expansion of Science</span><br/> <span class="font-size-2">(S2ES) has been used with different meanings. It is usually</span><br/> <span class="font-size-2">related to Web 2.0-enabled scientific activities, but it has</span><br/> <span class="font-size-2">also been related to the expansion of science by means of</span><br/> <span class="font-size-2">new concepts and theories, or new modes of producing</span><br/> <span class="font-size-2">knowledge.11</span></p>
<p><span class="font-size-2">UNESCO approached this matter in the context of</span><br/> <span class="font-size-2">increased cooperation between science and industry as well</span><br/> <span class="font-size-2">as between the public and private sectors in the promotion</span><br/> <span class="font-size-2">of scientific research for long-term goals, prior to the discourse</span><br/> <span class="font-size-2">about the creative economy, in the context of the</span><br/> <span class="font-size-2">World Conference on Science in 1999. As pointed out in the</span><br/> <span class="font-size-2">Declaration, the two sectors should work in close collaboration</span><br/> <span class="font-size-2">and in a complementary manner. However, from reviewing</span><br/> <span class="font-size-2">follow-up activities, it seems that scientists from the</span><br/> <span class="font-size-2">public and private sectors have not yet articulated this cooperation</span><br/> <span class="font-size-2">even if the private sector is a direct beneficiary of scientific</span><br/> <span class="font-size-2">innovation and science education and an increasing</span><br/> <span class="font-size-2">proportion of funds for creative-industry-related scientific</span><br/> <span class="font-size-2">research are financed by the private sector.</span><br/> <span class="font-size-2">Sport and its role in the creative economy are also</span><br/> <span class="font-size-2">debatable. Some classifications of creative industries include</span><br/> <span class="font-size-2">sport. In most cases, this is because ministries of culture are</span><br/> <span class="font-size-2">also in charge of sport matters. This is also justified by the</span><br/> <span class="font-size-2">fact that sport is an important source of revenue and generates</span><br/> <span class="font-size-2">positive externalities in various other sectors of the</span><br/> <span class="font-size-2">economy. Another practical and methodological reason is</span><br/> <span class="font-size-2">that in national accounts, sport is aggregated with recreational</span><br/> <span class="font-size-2">services. From the conceptual viewpoint adopted by</span><br/> <span class="font-size-2">the present report, sport is associated more with training,</span><br/> <span class="font-size-2">rules and competition rather than with creativity. Therefore,</span><br/> <span class="font-size-2">sport is not included in the UNCTAD classification of</span><br/> <span class="font-size-2">“creative industries”.</span></p>
<p><strong><span class="font-size-3">1.1.7 The creative economy</span></strong></p>
<p><span class="font-size-2">Regardless of how the creative industries are defined</span><br/> <span class="font-size-2">and classified, there is no disagreement that they lay at the</span><br/> <span class="font-size-2">centre of what can be labelled in broader terms the “creative</span><br/> <span class="font-size-2">economy”. The term “creative economy” appeared in 2001 in</span><br/> <span class="font-size-2">John Howkins’ book about the relationship between creativity</span><br/> <span class="font-size-2">and economics.12 For Howkins, “creativity is not new and</span><br/> <span class="font-size-2">neither is economics, but what is new is the nature and the</span><br/> <span class="font-size-2">extent of the relationship between them and how they combine</span><br/> <span class="font-size-2">to create extraordinary value and wealth”. Howkins’ use</span><br/> <span class="font-size-2">of the term “creative economy” is broad, covering 15 creative</span><br/> <span class="font-size-2">industries extending from arts to the wider fields of science</span><br/> <span class="font-size-2">and technology. According to his estimates, in the year 2000,</span><br/> <span class="font-size-2">the creative economy was worth $2.2 trillion worldwide, and</span><br/> <span class="font-size-2">it was growing at 5 per cent annually. For Howkins, there are</span><br/> <span class="font-size-2">two kinds of creativity: the kind that relates to people’s fulfilment</span><br/> <span class="font-size-2">as individuals and the kind that generates a product.</span><br/> <span class="font-size-2">The first one is a universal characteristic of humanity and is</span><br/> <span class="font-size-2">found in all societies and cultures. The second is stronger in</span><br/> <span class="font-size-2">industrial societies, which put a higher value on novelty, on</span><br/> <span class="font-size-2">science and technological innovation, and on intellectual</span><br/> <span class="font-size-2">property rights.<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233145129?profile=original" target="_self"><img width="525" src="http://storage.ning.com/topology/rest/1.0/file/get/2233145129?profile=RESIZE_1024x1024" width="525" class="align-center"/></a></span></p>
<p><span class="font-size-2">There is no unique definition of the “creative economy”.</span><br/> <span class="font-size-2">It is a subjective concept that has been shaped throughout</span><br/> <span class="font-size-2">this decade. There is, however, growing convergence on a</span><br/> <span class="font-size-2">core group of creative industries and their overall interactions</span><br/> <span class="font-size-2">both in individual countries and at the international level.</span><br/> <span class="font-size-2">This report adopts the UNCTAD definition of the “creative</span><br/> <span class="font-size-2">economy”, which is summarized in the following box.13</span><br/> <span class="font-size-2">For countries in the developing world, recognition of the</span><br/> <span class="font-size-2">development dimension of the creative industries and hence of</span><br/> <span class="font-size-2">the creative economy has been more recent. The São Paulo</span><br/> <span class="font-size-2">Consensus arising from UNCTAD XI was a decisive step in</span><br/> <span class="font-size-2">this regard. Subsequently, UNCTAD enlarged the focus of its</span><br/> <span class="font-size-2">policy-oriented analysis, emphasizing four key objectives in its</span><br/> <span class="font-size-2">approach to the creative economy:</span></p>
<p><span class="font-size-2">■ To reconcile national cultural objectives with technological</span><br/> <span class="font-size-2">and international trade policies;</span><br/> <span class="font-size-2">■ To analyse and deal with the asymmetries inhibiting the</span><br/> <span class="font-size-2">growth of creative industries in developing countries;</span><br/> <span class="font-size-2">■ To reinforce the so-called “creative nexus” between investment,</span><br/> <span class="font-size-2">technology, entrepreneurship and trade; and</span><br/> <span class="font-size-2">■ To identify innovative policy responses for enhancing the</span><br/> <span class="font-size-2">creative economy for development gains.</span></p>
<p><span class="font-size-2">Other initiatives that have furthered the role of the creative</span><br/> <span class="font-size-2">economy in development include a symposium held in</span><br/> <span class="font-size-2">Nagaur, India, in 2005, organized by UNESCO. The symposium</span><br/> <span class="font-size-2">focused on the role of cultural industries in development,</span><br/> <span class="font-size-2">with particular emphasis on the importance of local</span><br/> <span class="font-size-2">artistic and cultural activity as a means for economic empowerment</span><br/> <span class="font-size-2">and poverty alleviation. The recommendations of this</span><br/> <span class="font-size-2">event, known as the Jodhpur Initiatives, put forward a series</span><br/> <span class="font-size-2">of strategies for data collection and industry development for</span><br/> <span class="font-size-2">implementation in various Asian countries.</span><br/> <span class="font-size-2">At the same time at UNESCO headquarters, work</span><br/> <span class="font-size-2">was proceeding on the preparation of a cultural diversity</span><br/> <span class="font-size-2">convention whose provisions would specifically recognize the</span><br/> <span class="font-size-2">contribution that cultural industries make to economic and</span><br/> <span class="font-size-2">cultural development in both industrialized and developing</span><br/> <span class="font-size-2">countries. The resulting Convention on the Protection and</span><br/> <span class="font-size-2">Promotion of the Diversity of Cultural Expressions was</span><br/> <span class="font-size-2">adopted by the General Conference of UNESCO in</span><br/> <span class="font-size-2">October 2005 and entered into force in March 2007 (see</span><br/> <span class="font-size-2">chapter 9).14</span></p>
<p><span class="font-size-2">Thus it can be seen that the concept of the “creative</span><br/> <span class="font-size-2">economy” has evolved along several paths over the last ten</span><br/> <span class="font-size-2">years. It has emerged as a means of focusing attention on the</span><br/> <span class="font-size-2">role of creativity as a force in contemporary economic life,</span><br/> <span class="font-size-2">embodying the proposition that economic and cultural</span><br/> <span class="font-size-2">development are not separate or unrelated phenomena but</span><br/> <span class="font-size-2">part of a larger process of sustainable development in which</span><br/> <span class="font-size-2">both economic and cultural growth can occur hand in hand.</span><br/> <span class="font-size-2">In particular, the idea of the creative economy in the developing</span><br/> <span class="font-size-2">world draws attention to the significant creative assets</span><br/> <span class="font-size-2">and rich cultural resources that exist in all developing countries.</span><br/> <span class="font-size-2">The creative industries that use these resources not only</span><br/> <span class="font-size-2">enable countries to tell their own stories and to project their</span><br/> <span class="font-size-2">own unique cultural identities to themselves and to the world</span><br/> <span class="font-size-2">but they also provide these countries with a source of economic</span><br/> <span class="font-size-2">growth, employment creation and increased participation</span><br/> <span class="font-size-2">in the global economy. At the same time, the creative</span><br/> <span class="font-size-2">economy promotes social inclusion, cultural diversity and</span><br/> <span class="font-size-2">human development.</span></p>
<p><span class="font-size-2">1.1.8 The creative class and creative </span><span class="font-size-2">entrepreneurs</span></p>
<p><span class="font-size-2">A broad interpretation of creativity also underlies</span><br/> <span class="font-size-2">Richard Florida’s descriptions of the emerging “creative</span><br/> <span class="font-size-2">class” in society, a cohort of professional, scientific and artistic</span><br/> <span class="font-size-2">workers whose presence generates economic, social and</span><br/> <span class="font-size-2">cultural dynamism, especially in urban areas.15 More specifically,</span><br/> <span class="font-size-2">the creative class includes people in science and engineering,</span><br/> <span class="font-size-2">architecture and design, education, arts, music and </span><span class="font-size-2">entertainment whose economic function is to create new ideas, new technology or new creative content. According to</span><br/> <span class="font-size-2">Florida: “Creativity is not intelligence. Creativity involves the</span><br/> <span class="font-size-2">ability to synthesize. It is a matter of sifting through data,</span><br/> <span class="font-size-2">perceptions and materials to come up with something new</span><br/> <span class="font-size-2">and useful”. In his approach, the creative class also includes</span><br/> <span class="font-size-2">a broader group of creative professionals in business, finance</span><br/> <span class="font-size-2">and law. Whether they are artists or engineers, musicians or</span><br/> <span class="font-size-2">computer scientists, writers or entrepreneurs, these workers</span><br/> <span class="font-size-2">share a common creative ethos that values creativity, individuality,</span><br/> <span class="font-size-2">difference and merit. In sum, they are people who add</span><br/> <span class="font-size-2">economic value through creativity. The values of the creative</span><br/> <span class="font-size-2">class are individuality, meritocracy, diversity and openness.</span><br/> <span class="font-size-2">Florida estimated that at the beginning of the 21st</span><br/> <span class="font-size-2">century, the creative class represented almost one-third of the</span><br/> <span class="font-size-2">workforce in the United States of America and that the creative</span><br/> <span class="font-size-2">sector accounted for nearly half of all wage and salary</span><br/> <span class="font-size-2">income in this country, about $1.7 trillion, as much as the</span><br/> <span class="font-size-2">manufacturing and service sectors combined.16 In his</span><br/> <span class="font-size-2">second book,17 Florida points out that we are entering the</span><br/> <span class="font-size-2">creative age, as the rise of creativity is the prime factor of our</span><br/> <span class="font-size-2">economy. He presents his “3 Ts theory” for economic</span><br/> <span class="font-size-2">growth: technology, talent and tolerance. His theory differs</span><br/> <span class="font-size-2">from conventional theory since he argues that talent drives</span><br/> <span class="font-size-2">growth, and he goes a step further by adding the third T, tolerance,</span><br/> <span class="font-size-2">which is needed to attract human capital. Criticisms</span><br/> <span class="font-size-2">have been raised about Florida’s work, including that the</span><br/> <span class="font-size-2">range of occupational categories to define the creative class</span><br/> <span class="font-size-2">is too broad. Nevertheless, it is recognized that he has contributed</span><br/> <span class="font-size-2">to advancing a public discourse about the emerging</span><br/> <span class="font-size-2">creative economy.</span></p>
<p><span class="font-size-2">Along these lines, the notion of “creative entrepreneurs”</span><br/> <span class="font-size-2">is also gaining ground to characterize successful and</span><br/> <span class="font-size-2">talented, entrepreneurial people who are able to transform</span><br/> <span class="font-size-2">ideas into creative products or services for society (see box</span><br/> <span class="font-size-2">1.1). The terminology is actually derived from the concept of</span><br/> <span class="font-size-2">“cultural entrepreneurship” as it deals with strategy formation,</span><br/> <span class="font-size-2">organizational design and leadership in a cultural context.</span><br/> <span class="font-size-2">Entrepreneurship in this sense is described as a new way of</span><br/> <span class="font-size-2">thinking, a new attitude: looking for opportunities within the</span><br/> <span class="font-size-2">environment of a cultural organization, regarding the cultural</span><br/> <span class="font-size-2">mission as the starting point. According to Haggort,18 after</span><br/> <span class="font-size-2">the rise and development of arts management, cultural entrepreneurship</span><br/> <span class="font-size-2">became a leading organizational philosophy for</span><br/> <span class="font-size-2">the 21st century. Creative businesses are also more active in</span><br/> <span class="font-size-2">promoting innovations.<br/> <br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233145940?profile=original" target="_self"><img width="625" src="http://storage.ning.com/topology/rest/1.0/file/get/2233145940?profile=RESIZE_1024x1024" width="625" class="align-center"/></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/2233146161?profile=original" target="_self"><img width="625" src="http://storage.ning.com/topology/rest/1.0/file/get/2233146161?profile=RESIZE_1024x1024" width="625" class="align-center"/></a><br/> <br/> <span class="font-size-1"><a href="http://unctad.org/en/Pages/DITC/CreativeEconomy/Creative-Economy-Programme.aspx" target="_blank">LInk: UNCTAD</a> </span><br/> <span class="font-size-1"><a href="http://unctad.org/en/Docs/ditctab20103_en.pdf" target="_blank">Link: Creative Economy Report 2010</a></span><br/></span></p>
UNDP: The Creative Economy Report 2008
tag:iconada.tv,2016-01-05:3600580:BlogPost:361072
2016-01-05T10:00:00.000Z
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<p><span class="font-size-3"><strong>Overview</strong></span></p>
<p><span class="font-size-2">The Creative Economy Report 2008 is the first study to present the United Nations</span><br></br> <span class="font-size-2">perspective on this emerging topic. It is an initiative of the partnership between UNCTAD</span><br></br> <span class="font-size-2">and the UNDP Special Unit for South-South Cooperation. Furthermore, it is a pioneer</span><br></br> <span class="font-size-2">example of the work being…</span></p>
<p><span class="font-size-3"><strong>Overview</strong></span></p>
<p><span class="font-size-2">The Creative Economy Report 2008 is the first study to present the United Nations</span><br/> <span class="font-size-2">perspective on this emerging topic. It is an initiative of the partnership between UNCTAD</span><br/> <span class="font-size-2">and the UNDP Special Unit for South-South Cooperation. Furthermore, it is a pioneer</span><br/> <span class="font-size-2">example of the work being undertaken by the Multi-Agency Informal Dialogue Group on</span><br/> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2233126540?profile=original" target="_self"><img width="275" src="http://storage.ning.com/topology/rest/1.0/file/get/2233126540?profile=RESIZE_320x320" width="275" class="align-left"/></a><span class="font-size-2">Creative Industries.1 It brings together contributions from five relevant United Nations</span><br/> <span class="font-size-2">bodies: UNCTAD, UNDP, UNESCO, WIPO and ITC. This collective effort not only contributes</span><br/> <span class="font-size-2">to building synergy and exploring complementarities but also is an effective way to</span><br/> <span class="font-size-2">advance policy coherence and enhance the impact of international actions in the area of</span><br/> <span class="font-size-2">the creative economy and creative industries.</span></p>
<p><span class="font-size-2">Creativity, culture and economic development</span><span style="font-size: 10pt;"> paradigm is emerging that links the</span><span style="font-size: 10pt;">economy and culture, embracing economic, </span><span style="font-size: 10pt;">cultural, technological and social aspects of </span><span style="font-size: 10pt;">development at both the macro and micro </span><span style="font-size: 10pt;">levels. Central to the new paradigm is the fact </span><span style="font-size: 10pt;">that creativity, knowledge and access to information </span><span style="font-size: 10pt;">are increasingly recognized as powerful </span><span style="font-size: 10pt;">engines driving economic growth and promoting </span><span style="font-size: 10pt;">development in a globalizing world.</span></p>
<p><span class="font-size-2">“Creativity” in this context refers to the formulation </span><span class="font-size-2">of new ideas and to the application of</span><br/> <span class="font-size-2">these ideas to produce original works of art and </span><span class="font-size-2">cultural products, functional creations, scientific</span><br/> <span class="font-size-2">inventions and technological innovations. There </span><span class="font-size-2">is thus an economic aspect to creativity, observable</span><br/> <span class="font-size-2">in the way it contributes to entrepreneurship, </span><span class="font-size-2">fosters innovation, enhances productivity </span><span class="font-size-2">and promotes economic growth.</span></p>
<p><span class="font-size-2">Creativity is found in all societies and </span><span class="font-size-2">countries – rich or poor, large or small, </span><span class="font-size-2">advanced or developing. The word “creativity” </span><span class="font-size-2">is associated with originality, imagination, </span><span class="font-size-2">inspiration, ingenuity and inventiveness. It is </span><span class="font-size-2">an inner characteristic of individuals to be </span><span class="font-size-2">imaginative and express ideas; associated with </span><span class="font-size-2">knowledge, these ideas are the essence of intellectual </span><span class="font-size-2">capital. Similarly, every society has its </span><span class="font-size-2">stock of intangible cultural capital articulated </span><span class="font-size-2">by people’s identity and values. Civilizations </span><span class="font-size-2">since time immemorial have been aware of </span><span class="font-size-2">these concepts. However, the twenty-first</span><br/> <span class="font-size-2">century has seen a growing understanding of </span><span class="font-size-2">the interface between creativity, culture and</span><br/> <span class="font-size-2">economics, the rationale behind the emerging </span><span class="font-size-2">concept of the “creative economy”.</span><br/> <br/><span class="font-size-2">The concept of the “creative economy” </span><span class="font-size-2">is an evolving one that is gaining ground in </span><span style="font-size: 10pt;">contemporary thinking about economic </span><span style="font-size: 10pt;">development. It entails a shift from the </span><span style="font-size: 10pt;">conventional models towards a multidisciplinary </span><span style="font-size: 10pt;">model dealing with the interface </span><span style="font-size: 10pt;">between economics, culture and technology </span><span style="font-size: 10pt;">and centred on the predominance of services </span><span style="font-size: 10pt;">and creative content. Given its multidisciplinary </span><span style="font-size: 10pt;">structure, the creative economy offers a </span><span style="font-size: 10pt;">feasible option as part of a results-oriented </span><span style="font-size: 10pt;">development strategy for developing countries.</span></p>
<p><span class="font-size-2">It calls for the adoption of effective </span><span class="font-size-2">cross-cutting mechanisms and innovative </span><span class="font-size-2">interministerial policy action. <span class="font-size-1">2</span> </span><span class="font-size-2">For some people, the “creative economy” </span><span class="font-size-2">is a holistic concept dealing with complex</span><br/> <span class="font-size-2">interactions between culture, economics and </span><span class="font-size-2">technology in the contemporary globalized </span><span class="font-size-2">world that is dominated by symbols, texts, </span><span class="font-size-2">sounds and images. Others are more sceptical </span><span class="font-size-2">about this fashionable label, voicing concerns </span><span class="font-size-2">about its overstated importance and the way it </span><span class="font-size-2">may exacerbate cultural and technological </span><span class="font-size-2">divisions. Against this background, the creative </span><span class="font-size-2">economy has become a topical issue of </span><span class="font-size-2">the international economic and development </span><span class="font-size-2">agenda, calling for informed policy responses </span><span class="font-size-2">in both developed and developing countries.</span><br/> <br/><span class="font-size-2">There is no unique definition of the </span><span class="font-size-2">“creative economy”. It is a subjective concept </span><span class="font-size-2">that is still being shaped. There is, however, </span><span class="font-size-2">growing convergence on a core group of activities </span><span class="font-size-2">and their interactions both in individual </span><span class="font-size-2">countries and at the international level.</span><br/> <br/><span class="font-size-2">The present Report adopts the UNCTAD </span><span class="font-size-2">definition of the “creative economy”, which </span><span class="font-size-2">can be summarized as follows:</span><br/> <br/><span class="font-size-2">■ The creative economy is an evolving concept</span><br/> <span class="font-size-2">based on creative assets potentially generating</span><br/> <span class="font-size-2">economic growth and development;</span><br/> <br/><span class="font-size-2">■ It can foster income generation, job creation</span><br/> <span class="font-size-2">and export earnings while promoting social</span><br/> <span class="font-size-2">inclusion, cultural diversity and human</span><br/> <span class="font-size-2">development;</span><br/> <br/><span class="font-size-2">■ It embraces economic, cultural and social</span><br/> <span class="font-size-2">aspects interacting with technology, intellectual</span><br/> <span class="font-size-2">property and tourism objectives;</span><br/> <br/><span class="font-size-2">■ It is a set of knowledge-based economic</span><br/> <span class="font-size-2">activities with a development dimension</span><br/> <span class="font-size-2">and cross-cutting linkages at macro and</span><br/> <span class="font-size-2">micro levels to the overall economy;</span><br/> <br/><span class="font-size-2">■ It is a feasible development option calling</span><br/> <span class="font-size-2">for innovative multidisciplinary policy</span><br/> <span class="font-size-2">responses and interministerial action;</span><br/> <br/><span class="font-size-2">■ At the heart of the creative economy are the</span><br/> <span class="font-size-2">creative industries.3</span><br/> <span class="font-size-2">“Creative industries” can be defined as the</span><br/> <span class="font-size-2">cycles of creation, production and distribution</span><br/> <span class="font-size-2">of goods and services that use creativity and</span><br/> <span class="font-size-2">intellectual capital as primary inputs. They</span><br/> <span class="font-size-2">comprise a set of knowledge-based activities</span><br/> <span class="font-size-2">that produce tangible goods and intangible</span><br/> <span class="font-size-2">intellectual or artistic services with creative</span><br/> <span class="font-size-2">content, economic value and market objectives.4</span><br/> <span class="font-size-2">Creative industries constitute a vast and</span><br/> <span class="font-size-2">heterogeneous field dealing with the interplay</span><br/> <span class="font-size-2">of various creative activities ranging from</span><br/> <span class="font-size-2">traditional arts and crafts, publishing, music,</span><br/> <span class="font-size-2">and visual and performing arts to more</span><br/> <span class="font-size-2">technology-intensive and services-oriented</span><br/> <span class="font-size-2">groups of activities such as film, television and</span><br/> <span class="font-size-2">radio broadcasting, new media and design.</span><br/> <span class="font-size-2">The creative sector has a flexible and modular</span><br/> <span class="font-size-2">market structure that ranges from independent</span><br/> <span class="font-size-2">artists and small-business enterprises at one</span><br/> <span class="font-size-2">extreme to some of the world’s largest</span><br/> <span class="font-size-2">conglomerates at the other.</span><br/> <span class="font-size-2">Today, creative industries are among the</span><br/> <span class="font-size-2">most dynamic sectors in world trade. Over the</span><br/> <span class="font-size-2">period 2000-2005, international trade in creative</span><br/> <span class="font-size-2">goods and services experienced an</span><br/> <span class="font-size-2">unprecedented average annual growth rate of</span><br/> <span class="font-size-2">8.7 per cent. The value of world exports of</span><br/> <span class="font-size-2">creative goods and services reached $424.4</span><br/> <span class="font-size-2">billion in 2005, representing 3.4 per cent of</span><br/> <span class="font-size-2">total world trade, according to UNCTAD.</span><br/> <span class="font-size-2">Nowadays in the most advanced countries, the</span><br/> <span class="font-size-2">creative industries are emerging as a strategic</span><br/> <span class="font-size-2">choice for reinvigorating economic growth,</span><br/> <span class="font-size-2">employment and social cohesion. The socalled</span><br/> <span class="font-size-2">“creative cities” are proliferating in</span><br/> <span class="font-size-2">Europe and North America, revitalizing the</span><br/> <span class="font-size-2">economy of urban centres through cultural</span><br/> <span class="font-size-2">and social developments offering attractive</span><br/> <span class="font-size-2">jobs, particularly to young people. The</span><br/> <span class="font-size-2">turnover of the European creative industries</span><br/> <span class="font-size-2">amounted to 654 billion euros in 2003,</span><br/> <span class="font-size-2">growing 12.3 per cent faster than the overall</span><br/> <span class="font-size-2">economy of the European Union and</span><br/> <span class="font-size-2">employing over 5.6 million people.5</span><br/> <span class="font-size-2">A significant finding of the present</span><br/> <span class="font-size-2">study is the evidence that some developing</span><br/> <span class="font-size-2">countries, mainly in Asia, have started benefiting</span><br/> <span class="font-size-2">from the dynamism of the global creative</span><br/> <span class="font-size-2">economy and are putting in place tailored</span><br/> <span class="font-size-2">cross-cutting policies to enhance their creative</span><br/> <span class="font-size-2">industries. China, which is leading this</span><br/> <span class="font-size-2">process, became the world’s leading producer</span><br/> <span class="font-size-2">and exporter of value-added creative products</span><br/> <span class="font-size-2">n 2005. Nevertheless, the large majority of</span><br/> <span class="font-size-2">developing countries are not yet able to harness</span><br/> <span class="font-size-2">their creative capacities for development</span><br/> <span class="font-size-2">gains. The obstacles preventing these developing</span><br/> <span class="font-size-2">countries from enhancing their creative</span><br/> <span class="font-size-2">economies are a combination of domestic</span><br/> <span class="font-size-2">policy weaknesses and global systemic biases,</span><br/> <span class="font-size-2">issues addressed in the analysis of this Report.</span><br/> <span class="font-size-2">Another important conclusion of this</span><br/> <span class="font-size-2">study is that developing-country exports of</span><br/> <span class="font-size-2">related creative goods (including computers,</span><br/> <span class="font-size-2">cameras, television sets, and broadcasting and</span><br/> <span class="font-size-2">audiovisual equipment) increased rapidly over</span><br/> <span class="font-size-2">the period 1996-2005 from $51 billion to</span><br/> <span class="font-size-2">$274 billion.6 This spectacular growth is</span><br/> <span class="font-size-2">indicative of the catching-up strategies being</span><br/> <span class="font-size-2">pursued in a number of developing countries</span><br/> <span class="font-size-2">to increase their capacities to supply</span><br/> <span class="font-size-2">value-added products to global markets. It</span><br/> <span class="font-size-2">also reaffirms the continually expanding</span><br/> <span class="font-size-2">demand for creative products that rely on</span><br/> <span class="font-size-2">these related industries for their distribution</span><br/> <span class="font-size-2">and consumption. This ever-increasing</span><br/> <span class="font-size-2">demand is further confirmation of the potential</span><br/> <span class="font-size-2">of the creative economy to contribute to</span><br/> <span class="font-size-2">economic growth The development dimension</span><br/> <span class="font-size-2">economy is the guiding principle of this</span><br/> <span class="font-size-2">Report. Developing countries can further</span><br/> <span class="font-size-2">integrate into the global economy by nurturing</span><br/> <span class="font-size-2">their creative capacities and enhancing the</span><br/> <span class="font-size-2">competitiveness of their creative goods and</span><br/> <span class="font-size-2">services in world markets, provided that</span><br/> <span class="font-size-2">appropriate public policies are in place at the</span><br/> <span class="font-size-2">national level and market imbalances can be</span><br/> <span class="font-size-2">redressed at the international level. In this</span><br/> <span class="font-size-2">respect, support for domestic creative industries</span><br/> <span class="font-size-2">should be seen as an integral part of the</span><br/> <span class="font-size-2">promotion and protection of cultural diversity.</span><br/> <span class="font-size-2">Moreover, such diversity, because it is a global</span><br/> <span class="font-size-2">public good, needs to be fully supported by</span><br/> <span class="font-size-2">the international community.7</span><br/> <span class="font-size-2">With the increasing knowledge intensity</span><br/> <span class="font-size-2">of the contemporary economy and the need</span><br/> <span class="font-size-2">for innovation to maintain competitive advantage,</span><br/> <span class="font-size-2">it has become imperative for countries to</span><br/> <span class="font-size-2">tap into their vast reserves of creativity. This</span><br/> <span class="font-size-2">has been made easier by rapid advances in</span><br/> <span class="font-size-2">information and communication technologies</span><br/> <span class="font-size-2">(ICTs), which are progressively linking countries</span><br/> <span class="font-size-2">and regions worldwide. Opportunities</span><br/> <span class="font-size-2">are thus created for developing countries to</span><br/> <span class="font-size-2">access global markets for the products of their</span><br/> <span class="font-size-2">creativity and cultural diversity in a way not</span><br/> <span class="font-size-2">previously possible – and to do so directly,</span><br/> <span class="font-size-2">without intermediaries. Nonetheless, the</span><br/> <span class="font-size-2">challenges are immense and should not be</span><br/> <span class="font-size-2">underestimated.</span><br/> <span class="font-size-2">Despite the richness of their cultural</span><br/> <span class="font-size-2">diversity and the abundance of creative talent,</span><br/> <span class="font-size-2">the great majority of developing countries are</span><br/> <span class="font-size-2">not yet fully benefiting from the enormous</span><br/> <span class="font-size-2">potential of their creative economies to</span><br/> <span class="font-size-2">improve development gains.8 These countries</span><br/> <span class="font-size-2">have been facing domestic and international</span><br/> <span class="font-size-2">obstacles that need to be fully understood and</span><br/> <span class="font-size-2">overcome through cross-cutting institutional</span><br/> <span class="font-size-2">mechanisms and multidisciplinary policies. In</span><br/> <span class="font-size-2">this scenario, development strategies must be</span><br/> <span class="font-size-2">updated to cope with the far-reaching cultural,</span><br/> <span class="font-size-2">economic and technological shifts that are</span><br/> <span class="font-size-2">reshaping society.</span><br/> <span class="font-size-2">There is, for example, widespread recognition</span><br/> <span class="font-size-2">of the significance of tourism for development.9</span><br/> <span class="font-size-2">In the present Report, a preliminary</span><br/> <span class="font-size-2">attempt is made to investigate the link between</span><br/> <span class="font-size-2">tourism and the creative industries, addressing</span><br/> <span class="font-size-2">the question as to whether the demand for creative</span><br/> <span class="font-size-2">goods and services by tourists supports</span><br/> <span class="font-size-2">the development of the creative economy.</span><br/> <span class="font-size-2">From the perspective of the creative economy</span><br/> <span class="font-size-2">elaborated in this Report, measures need to be</span><br/> <span class="font-size-2">taken to ensure that creative workers can reap</span><br/> <span class="font-size-2">the benefits from the increasing demand by</span><br/> <span class="font-size-2">tourists for creative products.</span><br/> <span class="font-size-2">The role of culture in development has</span><br/> <span class="font-size-2">been analysed in the Human Development Report</span><br/> <span class="font-size-2">2004 published for UNDP.10 The present</span><br/> <span class="font-size-2">Report aims to build on the normative debate</span><br/> <span class="font-size-2">about culture and development by adding the</span><br/> <span class="font-size-2">economic dimension of the creative economy</span><br/> <span class="font-size-2">to the consideration of the development</span><br/> <span class="font-size-2">process. In so doing, it raises the question of</span><br/> <span class="font-size-2">the precise relationship between human</span><br/> <span class="font-size-2">expression and social and economic instrumentalism.</span><br/> <span class="font-size-2">The Report raises this issue as an</span><br/> <span class="font-size-2">essential matter that must be taken into</span><br/> <span class="font-size-2">account in policy-making.</span><br/> <span class="font-size-2">Overall, this study is a first attempt to</span><br/> <span class="font-size-2">present a broader perspective on the potential</span><br/> <span class="font-size-2">of the creative economy to assist developing</span><br/> <span class="font-size-2">countries to leapfrog into new high-growth</span><br/> <span class="font-size-2">creative sectors. Development strategies aimed</span><br/> <span class="font-size-2">in this direction are consistent with the</span><br/> <span class="font-size-2">achievement of the Millennium Development</span><br/> <span class="font-size-2">Goals (MDGs). As is well known, these goals</span><br/> <span class="font-size-2">represent the commitment of the international</span><br/> <span class="font-size-2">community to engage in the global development</span><br/> <span class="font-size-2">agenda in the coming years. There are eight</span><br/> <span class="font-size-2">goals with specific time-bound targets to be</span><br/> <span class="font-size-2">reached by 2015, the first and most important</span><br/> <span class="font-size-2">of which aims at the eradication of extreme</span><br/> <span class="font-size-2">poverty and hunger. The MDGs address</span><br/> <span class="font-size-2">development challenges not as a separate but</span><br/> <span class="font-size-2">as an inherent part of the global economy and</span><br/> <span class="font-size-2">societies. The full realization of these goals</span><br/> <span class="font-size-2">necessitates innovative and cross-sectoral</span><br/> <span class="font-size-2">approaches to development and the serious</span><br/> <span class="font-size-2">consideration of issues such as culture, environment</span><br/> <span class="font-size-2">and social development. The achievement</span><br/> <span class="font-size-2">of the MDGs demands a holistic and</span><br/> <span class="font-size-2">multisectoral approach that goes beyond economics</span><br/> <span class="font-size-2">and includes cultural and social</span><br/> <span class="font-size-2">frameworks; the creative economy reflects</span><br/> <span class="font-size-2">such an approach.</span> <br/> <span class="font-size-2">The main purpose of this Report is to</span><br/> <span class="font-size-2">provide the conceptual and policy framework</span><br/> <span class="font-size-2">for understanding the creative economy, with a</span><br/> <span class="font-size-2">view to identifying analytical tools conducive</span><br/> <span class="font-size-2">to informed policy-making. The Report introduces</span><br/> <span class="font-size-2">the concept of the “creative economy”,</span><br/> <span class="font-size-2">reviews definitions, recognizes characteristics</span><br/> <span class="font-size-2">and identifies parameters to assist in measuring</span><br/> <span class="font-size-2">the impact of the creative economy at the</span><br/> <span class="font-size-2">national and international levels. The objective</span><br/> <span class="font-size-2">is to propose a shared vision and a policyoriented</span><br/> <span class="font-size-2">research agenda that reflects current</span><br/> <span class="font-size-2">economic thinking and enables comparative</span><br/> <span class="font-size-2">analysis as the basis for national and</span><br/> <span class="font-size-2">international policy formulation.</span><br/> <span class="font-size-2">The Report takes stock of ongoing</span><br/> <span class="font-size-2">research being carried out in different parts of</span><br/> <span class="font-size-2">the world for mapping the overall impact of</span><br/> <span class="font-size-2">the creative economy at the national and</span><br/> <span class="font-size-2">international levels. Rather than prescribing a</span><br/> <span class="font-size-2">single model for mapping the creative economy</span><br/> <span class="font-size-2">in developing countries, it sheds light on possible</span><br/> <span class="font-size-2">alternatives, pointing, however, to the</span><br/> <span class="font-size-2">limitations of certain methodologies and</span><br/> <span class="font-size-2">current gaps in statistics and quantitative</span><br/> <span class="font-size-2">analytical tools. Nevertheless, it suggests some</span><br/> <span class="font-size-2">elements to facilitate comparability across creative</span><br/> <span class="font-size-2">industries within and among countries.</span><br/> <span class="font-size-2">The purpose is to present a comprehensive</span><br/> <span class="font-size-2">analysis and pave the way for the introduction</span><br/> <span class="font-size-2">of parameters for assessing national creative</span><br/> <span class="font-size-2">economies worldwide, emphasizing the</span><br/> <span class="font-size-2">importance of international trade in the</span><br/> <span class="font-size-2">development process.</span><br/> <span class="font-size-2">Despite the limitations of economic</span><br/> <span class="font-size-2">and social indicators, this Report takes the</span><br/> <span class="font-size-2">first step in using available official data to</span><br/> <span class="font-size-2">trace the global and regional trade flows of</span><br/> <span class="font-size-2">creative products and services for the period</span><br/> <span class="font-size-2">1996-2005, examining the main trends and</span><br/> <span class="font-size-2">identifying the key players in major markets.</span><br/> <span class="font-size-2">It presents an analysis of the value chain and</span><br/> <span class="font-size-2">the market structure of creative industries,</span><br/> <span class="font-size-2">concluding that the oligopolistic nature of</span><br/> <span class="font-size-2">marketing and distribution inhibits the competitiveness</span><br/> <span class="font-size-2">of creative goods and services from</span><br/> <span class="font-size-2">developing countries in the global trading system.</span><br/> <span class="font-size-2">It draws attention to the difficulties in</span><br/> <span class="font-size-2">quantifying intangible values and the constraints</span><br/> <span class="font-size-2">to capturing the real impact of international</span><br/> <span class="font-size-2">trade in creative goods and services in the world</span><br/> <span class="font-size-2">economy. This Report emphasizes the need to</span><br/> <span class="font-size-2">improve market transparency, particularly in the</span><br/> <span class="font-size-2">most technology-intensive and services-oriented</span><br/> <span class="font-size-2">sectors such as audiovisuals and new media.</span><br/> <span class="font-size-2">It also examines the scope for reinforcing</span><br/> <span class="font-size-2">South-South as well as North-South trade and</span><br/> <span class="font-size-2">cooperation.</span><br/> <span class="font-size-2">This Report recognizes the growing role</span><br/> <span class="font-size-2">of intellectual property rights (IPRs) as a tool</span><br/> <span class="font-size-2">with which to generate earnings from</span><br/> <span class="font-size-2">creative industries. The need to improve awareness</span><br/> <span class="font-size-2">and to reinforce the effectiveness of intellectual</span><br/> <span class="font-size-2">property regimes is highlighted.</span><br/> <span class="font-size-2">Nevertheless, the Report also recognizes the</span><br/> <span class="font-size-2">asymmetries existing in the current regime and</span><br/> <span class="font-size-2">stresses the need to review the enforcement of</span><br/> <span class="font-size-2">some policy instruments with a view to ensuring</span><br/> <span class="font-size-2">that the interests of developing countries are</span><br/> <span class="font-size-2">properly taken into account. Issues relating to</span><br/> <span class="font-size-2">traditional knowledge, cultural expressions and</span><br/> <span class="font-size-2">public domain are also discussed in the light of</span><br/> <span class="font-size-2">progress made in the work of the World</span><br/> <span class="font-size-2">Intellectual Property Organization (WIPO).</span><br/> <span class="font-size-2">The Report also presents an analysis of</span><br/> <span class="font-size-2">the phenomenon of connectivity and its</span><br/> <span class="font-size-2">influence on world patterns of production,</span><br/> <span class="font-size-2">consumption and trade in tangible and intangible</span><br/> <span class="font-size-2">creative products. The importance of</span><br/> <span class="font-size-2">ICT tools and the new business models with</span><br/> <span class="font-size-2">new forms of marketing and distribution of</span><br/> <span class="font-size-2">creative content in the digital era are</span><br/> <span class="font-size-2">discussed. Technology plays a key role in the</span><br/> <span class="font-size-2">creative economy not only as the essence of</span><br/> <span class="font-size-2">creative sectors such as audiovisuals and new</span><br/> <span class="font-size-2">media but also as the means by which to</span><br/> <span class="font-size-2">access and circulate digitized content in</span><br/> <span class="font-size-2">today’s interactive multimedia environment.</span><br/> <span class="font-size-2">The importance of international policies</span><br/> <span class="font-size-2">and global processes in shaping the emerging</span><br/> <span class="font-size-2">creative economy is also examined. This</span><br/> <span class="font-size-2">Report addresses the issue of the relevance</span><br/> <span class="font-size-2">of multilateral processes such as the</span><br/> <span class="font-size-2">Development Agendas of WIPO and the</span><br/> <span class="font-size-2">World Trade Organization (WTO) as well as</span><br/> <span class="font-size-2">the entering into force of the UNESCO</span><br/> <span class="font-size-2">Convention on the Protection and Promotion</span><br/> <span class="font-size-2">of the Diversity of Cultural Expressions and</span><br/> <span class="font-size-2">their implications for the creative industries</span><br/> <span class="font-size-2">and the creative economy. Attention is also</span><br/> <span class="font-size-2">given to greater mobilization of developing</span><br/> <span class="font-size-2">countries by the Member States of the Group</span><br/> <span class="font-size-2">of 77 (G-77)11 in order to promote the</span><br/> <span class="font-size-2">creative economy as a tool for development</span><br/> <span class="font-size-2">and by the inter-agency cooperation promoted</span><br/> <span class="font-size-2">by UNDP through its Special Unit for</span><br/> <span class="font-size-2">South-South Cooperation.12 This Report</span><br/> <span class="font-size-2">presents an overview of the most influential</span><br/> <span class="font-size-2">intergovernmental decisions of relevance to</span><br/> <span class="font-size-2">the creative economy. The purpose is to</span><br/> <span class="font-size-2">explore the policy framework surrounding the</span><br/> <span class="font-size-2">creative economy, with a view to identifying</span><br/> <span class="font-size-2">policy options to strengthen and integrate</span><br/> <span class="font-size-2">local creative industries into national and</span><br/> <span class="font-size-2">international development strategies and</span><br/> <span class="font-size-2">global markets.</span><br/> <span class="font-size-2">Given the multiplicity of approaches,</span><br/> <span class="font-size-2">the conclusion is reached that at this stage,</span><br/> <span class="font-size-2">there is no consensual model of the optimum</span><br/> <span class="font-size-2">package of policies towards the creative industries.</span><br/> <span class="font-size-2">Nevertheless, individual countries are</span><br/> <span class="font-size-2">encouraged to make some strategic choices of</span><br/> <span class="font-size-2">cross-cutting public policies in order to</span><br/> <span class="font-size-2">strengthen their creative economies. Due</span><br/> <span class="font-size-2">account should be taken of the specificities of</span><br/> <span class="font-size-2">their cultural identities and the competitive</span><br/> <span class="font-size-2">advantages of particular creative industries.</span><br/> <span class="font-size-2">Illustrative cases and successful practices</span><br/> <span class="font-size-2">being carried out in different countries are</span><br/> <span class="font-size-2">featured in the Report as evidence of the sorts</span><br/> <span class="font-size-2">of opportunities available in different parts of</span><br/> <span class="font-size-2">the world.</span><br/> <br/><span class="font-size-2">In summary, this Report aims to assist </span><span class="font-size-2">developing countries to harness their creative </span><span class="font-size-2">economies and to maximize development </span><span class="font-size-2">gains by recognizing the creative economy as a </span><span class="font-size-2">feasible option for linking economic, technological, </span><span class="font-size-2">social and cultural development objectives </span><span class="font-size-2">in a globalizing world. It does this by:</span><br/> <br/><span class="font-size-2">■ discussing concepts, methods and the </span><span class="font-size-2">structure of the creative economy;</span><br/> <br/><span class="font-size-2">■ sharing evidence-based analysis confirming </span><span class="font-size-2">that the creative industries constitute a new</span><br/> <span class="font-size-2">dynamic sector in international trade; and</span><br/> <br/><span class="font-size-2">■ suggesting directions for policy strategies. </span><span class="font-size-2">The Report recognizes that creativity </span><span class="font-size-2">and human talent, more than traditional production </span><span class="font-size-2">factors such as labour and capital, are </span><span class="font-size-2">fast becoming powerful engines of sustainable </span><span class="font-size-2">development. Developing countries around </span><span class="font-size-2">the world can find ways to optimize the </span><span class="font-size-2">potential of the creative economy for generating </span><span class="font-size-2">socio-economic growth, job creation and </span><span class="font-size-2">export earnings while at the same time </span><span class="font-size-2">promoting social inclusion, cultural diversity </span><span class="font-size-2">and human development.</span></p>
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<p><span class="font-size-1">1 This Group was set up by the Secretary-General of the United Nations Conference on Trade and Development (UNCTAD) in 2004 in the context of preparations for the High-level Panel on Creative Industries and Development, held during the UNCTAD XI Ministerial Conference. UNCTAD, as chair of the Group, convenes two meetings a year in Geneva. The work of the Group has been revitalized with a view to promoting concerted international actions and joint initiatives by the United Nations family so as to enhance the contribution of the creative economy to development.</span></p>
<p><span class="font-size-1">2 UNCTAD Statement at the Second Meeting of the Ministers of Culture of the African, Caribbean and Pacific (ACP) Group of States, Santo Domingo, Dominican Republic, October 2006.</span><br/> <br/><span class="font-size-1">3 Definition by the UNCTAD Creative Economy and Industries Programme, 2005.</span><br/> <br/><span class="font-size-1">4 UNCTAD definition further elaborated in chap</span><br/> <br/><span class="font-size-1">5 See Economy of Culture in Europe, study prepared for the European Commission by KEA, European Affairs, Brussels, 2006. <br/><br/>6 See also chapter 5.</span><br/> <br/><span class="font-size-1">7 See Summary of High-level Panel on Creative Industries (document TD/L.379, 16 June 2004).</span><br/> <br/><span class="font-size-1">8 Statement of the Secretary-General of UNCTAD at the World Knowledge Forum, Seoul, Republic of Korea, October 2006.</span><br/> <br/><span class="font-size-1">9 Tourism, Culture and Sustainable Development (United Nations Educational, Scientific and Cultural Organization (UNESCO), 2006); World Tourism Barometer (United Nations World Tourism Organization (UNWTO), 2007); and Outcome of Pre-UNCTAD XI High-Level International Meeting of Experts on Sustainable Tourism for Development (UNCTAD document TD(XI)/PC/6,</span><br/> <span class="font-size-1">18 March 2004). <br/><br/>10 Human Development Report 2004: Cultural Liberty in Today’s Diverse World, published for the United Nations Development Programme (UNDP) and for which Professor Amartya Sen developed the conceptual framework</span><br/> <br/><span class="font-size-1">11Message from the Chairman of the G-77 at the International Forum on the Creative Economy for Development held in Rio de Janeiro, Brazil, on 26 November 2006: <br/><br/><a href="http://www.g77.org/Speeches/112606.html">http://www.g77.org/Speeches/112606.html</a> 12Statements of the Administrator of UNDP and the Director-General of UNESCO at the 2005 United Nations Day for South-South Cooperation that focused on “Celebrating the Global South: Diversity and Creativity”:</span><br/> <br/><span class="font-size-2"><span class="font-size-1"><a href="http://tcdc.undp.org/UNDAY/unday2-admin-stmt.pdf">http://tcdc.undp.org/UNDAY/unday2-admin-stmt.pdf</a> and</span> <br/><span class="font-size-1"><a href="http://portal.unesco.org/culture/es/ev.phpURL_ID=29653&URL_DO=DO_TOPIC&URL_SECTION=201.html"><br/>http://portal.unesco.org/culture/es/ev.phpURL_ID=29653&URL_DO=DO_TOPIC&URL_SECTION=201.html<br/><br/></a><strong><a href="http://unctad.org/en/docs/ditc20082cer_en.pdf" target="_blank">LINK:Creative Economy Report 2008</a></strong></span><a href="http://portal.unesco.org/culture/es/ev.phpURL_ID=29653&URL_DO=DO_TOPIC&URL_SECTION=201.html"><br/></a></span></p>