Module 1 - TPE France varianta finala (1)

Module 1 Design of creative products, cultural goods&events 1. Introduction In recent years, the creative cultural industry has undergone rapid development, and the development of creative products that contain regional cultural connotations has become an increasingly present tool in all sectors of activity. In the global economy, traditional production processes and value chains are increasingly influenced by the cultural and creative industries and Enterprises are constantly looking for a creative capacity to innovate products and services that satisfy end users. The creative economy is one of the fastest growing sectors in the global economy. At the same time, it has been highly transformative in terms of revenue generation, job creation and export earnings. At the same time, creativity and culture also have an important non-monetary value; they are key factors for inclusive social development, dialogue and understanding between peoples. Culture is a determinant of human and sustainable development, stimulating innovation and creativity that create inclusive and sustainable growth. The cultural sector, like many others, is undergoing significant and rapid changes as a result of digital transformation. For the cultural sector, the growing importance of digital technologies requires a constant review of intellectual property rights legislation.

a) Goal This module focuses on the following elements: Innovative approach to the creation, access, dissemination and promotion of content in the cultural and creative sectors The module has the following objectives: ✔ stimulating young people and ✔ actors from different cultural and creative sectors to develop and test innovative digital solutions with long-term positive impact ✔ facilitating the creation of innovative tools, models and methods for creative or cultural sectors. b) Learning outcomes: ✔ Provides Young People with case studies and examples of how an organization or person from the creative and cultural sector can develop successful business models. ✔ stimulation of cross-border cooperation in the cultural and creative sectors; c) Key words: Creative product design, Internet+, Cultural and creative products, Online 3d display platform, Design strategy, Cultural and creative product

I. The Digitalized Development Approach of Creative Product Design in Internet+ In the Internet + era, people are trying to digitize the design of creative products through advanced science and technology, including the following ways: the development of web products related to cultural and creative products, the establishment of interactive digital platforms, the development of the 3D display platform of creative products, etc.In real life, when many people talk about creative products, the word most often used should be \"telling stories\". The so-called \"storytelling\" is a kind of narration of the historical stories behind the creative products. This ability plays an important role in the final transaction value of creative products. Nowadays, many designers of cultural products ignore this point, focusing only on making \"cultural products\" and forgetting about the \"basic utility\" attribute of the product itself. For example, some creative products are culturally focused but have no practical value at all.The birth of a great creative product is never about one aspect. The basic attributes of such a product should be utility, quality, brand, appearance and image, cultural value, artistic sense, followed by marketing and \"storytelling\" method.

Geneplore Model. Ronald A. Finke et al (1992) sought to identify the specific cognitive processes and structures that contribute to creative acts and products in order to develop new techniques for studying creativity in the context of controlled scientific experiments. These specialists developed the Geneplore Model which considers that creative cognition (knowledge) is an interaction between generative processes and exploratory processes. Based on this model, creative invention takes place in two main processing phases. In the generative phase, the person builds mental representations called preinventive structures, which are used to represent new visual patterns, new object shapes, categorical exemplars, mental models, and verbal combinations. These structures have different emergent properties (novelty, implicit meaning, divergence) that are exploited in the second phase, called the exploratory phase. The resulting creative cognition can be focused or expanded according to task demands or individual needs by modifying the preinventive structures and then repeating the cycle. Constraints can be imposed on the final product at any time during the generative or exploratory phase.

Exercise 1. It can be practiced on your own or introduced during the next brainstorming session in the company. It does not take more than 7 minutes; These exercises are primarily useful in the creative process, but they also raise the mood. Let's begin! Prepare a sheet of paper with as many empty circles as possible (example below). Take a raisin, or even a cherry tomato. sit down You look at this \"object\" as if it were the first time: you have come from another planet and have never seen one. Now you will explore it with your five senses. Then you will take it to your mouth. In the same way, you will take the time to observe bodily sensations, salivation, chewing, activation of swallowing. Draw in circles as many creative variations as possible: (Try not to copy, this is just an example) Think about the intention of your creative product and answer the following questions: What is the utility of my product? What can I improve regarding its quality? What is the brand of my product (brand) What should it look like (look and feel)? What is the cultural value of my product? What sets this one apart from others on the market (artistic sense) How could my product tell a story online (marketing and \"storytelling\" method)?

Exercise 2. According to Roland Barthes, the content of a photograph consists of two elements: Studium (what it says, what it talks about) and Punctum (an element that will attract our attention). The punctum is not mechanical, it is not a detail that sticks out of the picture, it can be many things and it is different for each person. This exercise will take place in three stages and will aim to properly rewire the brain. To put it more clearly, it will allow you to learn to better listen to your instincts and know yourself, but also to develop your skills to create a creative cultural product. The first part of the exercise consists, therefore, in training yourself to see what exactly attracts you in photographs. Collect the images that attract you and learn to listen to yourself and notice these small \"punctums\". The second part of the exercise is to become a little more aware of your environment, to pay real attention to it: to be more aware, to identify this moment in real life, in the real world, what is drawing your attention, what will draw your attention attention and which you would have previously overlooked out of habit. It can be a light, a shadow, a shape, a situation, an arrangement of shapes, in short, develop your attention. The third step is to photograph what will catch your eye. Start to \"photograph\" the creative cultural product that you want to develop in the online environment and ask yourself questions about what will attract you to it, usefulness and all the things discussed above.

II. Digital art and creative cultural product design Is computer art destined to revolutionize the way we think and produce the artistic object? The profound changes that digital technologies have brought to art affect the process, production and display of art objects and not ultimately the aesthetic characteristics of the new artistic products. The decisive break with the western cultural model, characterized by the sequentiality and originality (or non-reproducibility) of the work of art, can be seen as inherent in the technological process and the digitization process. The presentation of the work changes with the appearance of virtual museums and galleries that offer the viewer a completely different relationship with art, also dematerialized, whether it is the digital reproduction of old paintings and works, or, on the contrary, of \"immaterial\" works , directly designed and produced for the Internet. At the intersection of art and new media, among many other new artistic techniques is generative art or algorithmic art. It is a form of artistic expression based on the use of algorithms in order to design plastic compositions that are generated in an autonomous manner. It is basically a creation system capable of producing, according to predefined rules, complex works. Unlike traditional art, algorithmic art is not static, it can evolve, the generated images can change depending on a variable or based on random values and according to the principle of recursion, they can evolve infinitely. The creation of algorithmic art, like any form of art, involves the synergistic action of artistic inspiration intertwined with the execution technique and the presentation modes of the artistic product. The visual images arise somewhat surprisingly, unpredictably, from the chaining of networks of circles and have the appearance of extremely delicate lace or embroidery. The plastic rhythms appear sometimes interrupted, then re-knotted, sometimes harmoniously, sometimes discordantly, in an oscillating dynamic to suggest infinity and perpetual movement. Their virtual character is all the more accentuated as they appear to us as computer coded mathematical and geometric relations, to generate a form with a pronounced aesthetic character. An interactive artistic vision of space is proposed, opening new horizons on the ways of perceiving space, the relationships and intervals between the forms that populate it, spatial illusions and that will lead to the formulation of new concepts about ourselves and the world in which we live .

For artists, the artistic practice based on the use of the computer represents an interaction between several factors: computer-assisted training, continuing education, transdisciplinary professional training and personal creative methods, and the creative product is an abstract code, spiritualized matter, with new value , original, unique. In Postmodernism, no other subject has raised so many contradictory discussions comparable to the phenomenon of the convergence between art and science. A paradigm shift would be necessary in art criticism to assimilate the ramifications of the non-linear aesthetic activities of our age. These artistic activities and practices include digital art, computer generated art, \"telepresence\" etc. The problem, it is understood, is one that concerns objectivity and the achievement of objectivity under the conditions in which any interpretation is fatally subjective. It is the problem of every person who is faced with the impulse and the ability to transcend personal points of view in order to obtain an overall view of the world viewed as a whole... The difficulty of reconciling the two points of view appears in the way life is lived, as well as in the way in which the respective person's thinking system is structured in relation to digital art. To appeal to a suggestive image, if the exegete is like one who intends to clean a mirror of impurities in order that he and others may see themselves better in it, then he must adapt his means to the end. In other words, he must apply the same cleaning procedure to himself, if he iws aare of the fact that any act of interpretation \"infects\" the target object with the interpreter's own perspectives. Exercise 1. Imagine ten things you face every day that you didn't know 20 years ago (you or your parents). How many of these require an adaptation of reason, a training, an increased knowledge? Exercise 2. Imagine 5 new things that you currently use and about which you knew nothing two years ago, They can be theoretical, technological, scientific content, etc. Apply the same exercises with your group for modern arts.

III. Design method of cultural and creative products in museum The design of cultural and creative products should be rooted in the characteristic culture of museum collections, flexibly apply creative thinking and design methods, and enhance the functionality of cultural and creative products on the basis of reflecting the cultural connotation of museum collections. At the same time, cultural and creative products should become a new carrier of museum cultural information, which can close the communication with the public and make the public focus on the understanding of cultural information. Cultural and creative product design methods Specifically of Museums: Skin design is a method of graphic design, which directly applies patterns, textures and symbols to the appearance of products as decoration, thus creating unique visual effects. In the process of designing and developing cultural and creative products, we should pay attention to the selection and extraction of elements in the museum, and innovate the material technology to effectively enhance the novelty of products. At present, most of the cultural and creative products of Museums use printing and stickers, which are characterised by simple product design, short development cycle and low cost. The disadvantage is that some products are relatively low in manufacturability and cannot meet the aesthetic needs of consumers. Skeleton design Skeleton design usually extracts the modeling elements and cultural elements of the collection, and combines the functionality of cultural and creative products to carry out the design. Compared with the skin design, skeleton design pays more attention to the deformation of the original shape of elements, highlighting the connotation of the original cultural elements and reflecting the practical significance of cultural and creative products through the expressions of simplification, abstraction and exaggeration. For example, the key chain with the inscription of \"Shou\" designed by Jiujiang Museum makes full use of the skeleton design method, taking the inscription of \"Shou\" in Qing Dynasty in Yanshui Pavilion as the prototype, adopting the ancient Chinese window lattice structure as the overall image of the key chain, and matching with blue-and-white lotus pattern porcelain pieces, which not only embodies the characteristics of cultural relics, but also makes cultural and creative products have good practical functions.

Implication design In the process of designing cultural and creative products in museums, we should give deeper meaning to the products from the perspective of consumers' perception, based on the basic practical functions of the products, so that cultural and creative products can become cultural communication media. Therefore, we should fully consider the multicultural connotation of the museum and be good at excavating the intrinsic meaning of the collection. After fully understanding the cultural connotation, we should change the traditional design thinking and enhance the connotation expression of cultural and creative products. Thereby making the products have higher cultural value and aesthetic significance. Implication design is a high-level design method of cultural and creative products, which mainly separates elements from symbols, not simply repeating styles, but focusing on the core connotation and aesthetic value of cultural elements, and enhancing consumers' cultural character through subtle influence. This design method combines cultural elements with emotional expression, and has the characteristics of story and emotion. When the audience deeply experiences and feels, they will find the unique charm of the product and feel the image beauty of the product more. Deconstructive design Deconstructive design is the expression of deconstructive philosophy, which develops artistic design in a new way of thinking. Deconstruction is the decomposition and reorganization of existing relationships and structures, while deconstruction of thinking can often show design ideas and create unique and novel design works. The application of deconstruction in the design of cultural and creative products in museums can deconstruct the meaning of cultural information, combine the function of products with social and cultural atmosphere, and endow cultural and creative products with new connotations. At the same time, funny elements can break the traditional structure and logical relationship, enhance the expression of product meaning, and make it glow with different styles.

Exercise 1. Create the concept of a new product by rhythmically replacing a percentage of the range of existing products with new ones. Domain Novelty elements Technical specifications · Table, gauge dimensions · Energy consumption Usage conditions · Technical performances Psychological characteristics · Product formula: ingredients, components, etc. Presentation features Functions fulfilled · Duration of use; Associated features · Time of use · The psychological and symbolic value of the product · The image · Brand · The psychological and symbolic value of the product · The image · Brand Related services, distribution, price Exercise 2. Patterning System – Challenging the Brain: What do you see? Stimulating creativity to create new products from existing products. Try to reproduce as many variations as possible.

LESSON PLAN MODULE 1: Design of creative products, cultural goods & events TIME ESTIMATION OF TRAINING SESSION: 50 MINUTES Lesson pedagogical objective: help learners discover how to design a creative cultural event Lesson structure: Introduction: Debate on what is a cultural event for you? Provide examples of cultural events which you attend recently. Activity 1: Individually identify at less 3 aspects which make a cultural event to be creative. (5 minutes’ reflection). Put together those aspects. What are the commons aspects? Main part: The creativity is related to each step of design in the cultural event: creation, access, dissemination and promotion. Creativity is defined as the tendency to generate or recognize ideas, alternatives, or possibilities that may be useful in solving problems, communicating with others, and entertaining ourselves and others. Activity 2: Make 3 teams. Set a timer for ten minutes, and challenge the teams to create something creative in term of cultural event. The tight deadline can help them find new and interesting ways to develop your art. As they see that clock ticking down, they will push themselves harder and, in this case, they will be more creative. Closure / Debate: Each student must state what ideas he retained like creative in term of creation, access, dissemination and promotion. At the brainstorming based on the list each student will vote for creatives ideas in each category: creation, access, dissemination and promotion. With the most voted 3 ideas can we create a creative cultural event? If it’s missing something what we can add? ASSESSMENT: ● What are ideas which we can apply to a creative products or a cultural goods? ● How you explain your choice? ● Why are you choosing only those ideas? ● How do you think those ideas impact the society and popular culture? LEARNING LOG – MODULE 1

Name of the learner: Period: I’ve been learning how to The most important part was The part that was the newest to me was: The part I can do the best is The hardest part is I’d like to be able to....

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