Titlebook: Communicating Creativity; The Discursive Facil Darryl Hocking Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 architecture.a

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书目名称Communicating Creativity影响因子(影响力)




书目名称Communicating Creativity影响因子(影响力)学科排名




书目名称Communicating Creativity网络公开度




书目名称Communicating Creativity网络公开度学科排名




书目名称Communicating Creativity被引频次




书目名称Communicating Creativity被引频次学科排名




书目名称Communicating Creativity年度引用




书目名称Communicating Creativity年度引用学科排名




书目名称Communicating Creativity读者反馈




书目名称Communicating Creativity读者反馈学科排名

Hamper

Creativity and Communication, and multimodal communication in the facilitation of creative practice. After providing a critical overview of the different ways that the concept of creativity is understood by both researchers and educators, the chapter goes on to establish that creative practice and the nature of creativity is ac

DIKE

Interferons

Work,esign studio. The chapter argues that the discourse of work is the result of emergent twentieth-century social and economic structures, and suggests that it has superseded the previously dominant Western discourse of creativity as involving individual creative genius and an emphasis on traditional a

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小官

Motivation, tutors collaboratively develop a discursive strategy to motivate the students into creative action. Underpinning the justification for this strategy is the tutors’ belief that motivated students should be consistently producing work as the result of an ongoing explorative process; a view seemingly

小官

Exploration,sign studio. The chapter examines how this discourse has its roots in the European art and design schools of the early twentieth century, notably the Bauhaus, who responded to the political and industrial advances of the time by reframing creative practice through the language associated with ninete

Predigest

Ideas,he notion of idea transference, that is, the metaphorical transference of an ‘idea’ from the brief, to the students’ minds, and then to the work of art. The chapter examines how the discourse of the idea has its origins in the conceptual art of the 1960s.

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