Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: O. L. Davis, Jr. Vita. Includes bibliographical references.

Unificación: The Things That Bind Us is a collection of poetry and prose, using New York City's Spanish Harlem and Carolina, Puerto Rico as its backdrop. Each work in this collection revolves around a young man and his family, based on the real-life stories and experiences of the writer's grandfather, Luis. They are crafted with the intent of sharing aspects of Puerto Rican life both in and out of the continental United States with a diverse audience, including those who might not have encountered any elements of the Hispanic culture. Using techniques inspired by writers like Jesús Colon, Esmeralda Santiago, and Piri Thomas, each of the pieces focus on a different element of the Puerto Rican culture. The intent is to give audiences an idea of the cultural values, familial structures, and other norms typical of the Puerto Rican culture by providing glimpses into the everyday lives of the same family on the island and the mainland. The works capture their struggle to make the most of the life they've found themselves in, and emphasize one boy's growth as he attempts to find his role in the family. Overall, the goal of this work is to craft a story that can appeal to all audiences, bringing the Puerto Rican culture to life for all who encounter it.

Abstract Culture Creative Products have created economical value for cultural industries; they are the vehicle to pass on the cultural connotations, moreover, the integrated marketing communication are the best way to push culture creative products to achieve synergy. The marketer not only must develop good products, offer best service, set reasonable price, choose appropriate channels, but also must make all kinds of effective communication with the customers, wholesalers, and general public through all kinds of communication tools. There are various communication tools with different advantages and disadvantages and characteristics, one of the main purposes of this research is how marketers apply different communication tools under different circumstances to get the most effective integration so as to give the customers precise and consistent information and to achieve the maximum marketing communication effects. This research has taken Anping Sword-Lion Square as object to investigate the application of the marketing communication tools on culture creative products; also, through the in-depth interview with professionals and the first-hand data collected from marketing communication tools on the past with the theory and steps of integrated marketing communication: IMC to find out that there had no overall marketing plan and marketing steps, neither the target audiences. After many years of operation, they not only did not strengthen up the existed relationships with the customers on execution of marketing, but also ignored the unlimited effects of Internet on marketing promotion as well as the impact of developing the potential customers, nor did they set up the budget and the assessment of communication effects afterwards. Therefore, this study has aimed at the various finding on above to offer the following suggestions to Anping Sword-Lion Square: 1. To integrate all kinds of communication tools to strengthen up information integration and consistency. 2. To make sure the target audience and the market. 3. To establish a financial budget. 4. The marketing personnel must get involved in IMC. 5. To build up the customer awareness value and to create product differentiation and brand image. As for the future research direction, it is hoped to promote the Anping Sword-Lion as a symbol of guardian of Taiwan to cover a wider and diversified range of study. To achieve the goal, it not only must increase the visibility on international market, but also to coordinate between the tourism and culture creative industries, and to integrate them with all kinds of marketing communication tools to get the consistency and clear synergy.

Thesis (M.I.T.)--The Evergreen State College, 2010. / Title from title screen (viewed 7/7/2010). Includes bibliographical references (leaves 65-69).

Made available in DSpace on 2016-04-26T18:18:49Z (GMT). No. of bitstreams: 1 Isabel Orestes Silveira.pdf: 4306874 bytes, checksum: a5bc1106698d762fba25eb10d70a6828 (MD5) Previous issue date: 2010-08-03 / This thesis aims at scrutinizing the creative process of the Brazilian graphic design. The perspective from which it will be done comprises three cases, with the different and the common creative procedures being underlined in the text, based on the interviews made with some different designers. In these cases, a paradox between economy and culture can be seen, showcasing the creation of the abovementioned professionals and, at the same time, highlighting the limits that submit the creation to the market rules. The intention here is to describe the non-linearity of thought, which experiences diverse temporality when making projects. Thus, considering the variables that relate time to the creative process, how can we comprehend the procedures and acts of the graphic designers within this sort of temporality? The hypothesis suggests two directions: first of all, this research examines the relationship between design and culture from the perspective of Pinheiro (2007) and Lotman (1898; 1996), understanding the designer as a translator of visual signs. Secondly, it must not fall into oblivion that there is a multitude of times , internalizing the conscious, which impel the designers to make projects in the context of the creative process. A retrospective study of the past was done based on Braudel (1987), who is a historiographer specialized in the permanence in the long time . This research revolves around the idea that, independently of the object taken as the center of an investigation, it is more what happens during the creative process that defines the complexity as a principle of work (MORIN, 2006). The time leads the variables of the process to the dimension of an open model, which simply does not reject the doubt. This instability and, to some extent, this chaos follow the ideas of Eco (2005) and Prigogine (1996), both of whom discuss the principles of uncertainty and self-organization, which prevent the unstable systems from keeping themselves on the way of the entropy. Then, it is necessary to reach a probabilistic description of the object of this study in the light of General System Theory (GST) and Vieira (2008). These possibilities convey an universe where everything is stream and changing. The fundamentals of the creative process based on semiotics have in Salles (2006) the trinity that follows: the complexity of the systems, the temporality of the creative process and the representation of the graphic designers / Esta tese tem por objetivo a investigação do processo de criação no design gráfico brasileiro. O recorte proposto abrange três casos específicos, embora os procedimentos distintos e comuns em criação destaquem-se no corpus do texto pelo depoimento de diferentes designers, que atuam em áreas diversas. Nesses estudos, fazse presente o paradoxo econômico-cultural que revela a criação dos designers e, ao mesmo tempo, denuncia os limites que submete a criação às leis de mercado. A problemática exposta busca descrever os caminhos não lineares do pensamento, que experimenta distintas temporalidades enquanto elabora projetos. Por isso, mediante as variáveis que relacionam o fenômeno do tempo com o processo de criação, como compreender os procedimentos e as ações dos designers gráficos em suas diferentes temporalidades? A hipótese indica dois eixos norteadores: primeiro esta pesquisa pretende discutir a relação entre design e cultura sob a perspectiva de Pinheiro (2007) e Lotman (1898;1996), compreendendo o designer como tradutor de signos visuais. Em segundo lugar, construir-se-á o argumento levando-se em conta o fenômeno do tempo na perspectiva de haver tempos plurais no processo de criação, os quais se apresentam como índices progressivos da internalização subjetiva, que leva o designer a gerar projetos. Filtrada pela ótica histórica que se mistura à estética gráfica no tempo, revisitar-se-á o passado a partir de Braudel (1987), historiador que possibilita argumentar acerca das permanências no tempo da longa duração . Esta pesquisa justifica-se do ponto de vista de que as especificidades que ocorrem ao longo de um processo de criação, independentemente do objeto que se pretenda investigar, são tecidas num contexto que define a complexidade como trajetória de toda ação (MORIN, 2006). Parte-se aqui do pressuposto de que o tempo faz com que as variáveis do processo assumam sucessivamente a dimensão do modelo aberto, que aceita a condição da dúvida. Esse modo de ser inconstante e, de certa maneira caótico, segue a trilha do pensamento de Eco (2005) e remete a Prigogine (1996), que discute amplamente o princípio da incerteza e o processo de auto-organização, que resguarda os sistemas instáveis de se manterem no caminho da entropia. Pela imprecisão que surge em tais sistemas, torna-se necessária uma descrição probabilística do objeto desta tese, cujo embasamento dar-se-á pela Teoria Geral de Sistemas (TGS) e pela ótica de Vieira (2008). Tais possibilidades terão como analogia o universo primordialmente evolutivo, em que tudo é fluxo e transformação (portanto, mudança). A fundamentação teórica acerca dos processos de criação em rede em construção de base semiótica encontra em Salles (2006) um respaldo que ajusta a tríade: a complexidade dos sistemas, as temporalidades do processo de criação e as representações dos designers gráficos

本研究發現，工藝產業的標竿公司本身所具備的智慧資本，從公司初創時期偏重在「人力資本」與「關係資本」的不均衡狀態，透過智慧資本的建構活動（創造、流通、加值與保護），形成目前各公司的智慧資本在各構面間的分佈漸趨於平衡協調且有明顯成長。此外，各公司均以發展自我品牌為公司重要策略目標，研究中也發現各公司的智慧資本建構活動與此策略目標相符合。 本研究結論如下： 壹、 智慧資本建構的內容層面 一、 工藝產業初創時期，智慧資本在構面間的分佈不均衡，以「人力資本」與「關係資本」為主。發展至今，智慧資本在構面間的分佈漸趨於平衡協調且均有明顯成長。 貳、 智慧資本建構的過程層面 一、 人力資本主要是透過完整的各領域多元化人才的引進、員工的教育訓練（包含美學、行銷、管理、研發設計等）、國內外的資訊與技術交流、研發設計團隊的建立等活動強化經營團隊與員工專業技能的深度與廣度，更透過共同的理念與對公司的認同感加深對公司的向心力，建構了整個人力資本。而人力資本主要是透過建立共同理念、塑造公司文化、強調團隊合作以及提供完整教育訓練來加以保護。 二、 流程資本主要是透過營運流程的改善、引進生產管理的概念、產品品質的要求、大陸設廠以求生產成本降低、知識管理系統（包含資料庫）的建立、新科技的引入與生產設備的研發與取得等活動加以建構。而流程資本主要是透過建立知識管理系統、設置研發資料庫與保護人力資本來加以保護。 三、 創新資本主要是透過持續投入人力資金厚實本身的關鍵技術與其他輔助技術、產品多元化以求技術精進、國內外技術交流以求技術提昇、關鍵技術專利化等活動加以建構。而創新資本主要是透過保護人力資本、申請商標或專利來加以保護。 四、 關係資本主要是透過制訂不同的客戶策略、建立會員制度、產品設計更具特色、推廣藝術教育、結合上下游廠商、與國際通路合作、作品參賽得獎、參加國內外的展覽等活動來加以建構。而關係資本主要是透過建立會員制度、提升產品價值、建立品牌形象與強化夥伴關係來加以保護。 參、 智慧資本建構的策略層面 一、 工藝產業公司除了將建立自我品牌為主要策略目標外，更將發揚工藝文化、將工藝藝術生活化、推廣工藝藝術教育、成立展示館設定為公司目標。 二、 工藝產業公司所建構之智慧資本與自我品牌之策略目標相符合。 關鍵字：文化創意產業、工藝產業、智慧資本、智慧資本建構、智慧資本管理、智慧資本保護 / The research concluded that: 1. In craft companies, the construction of distribution of intellectual capital, which is not balanced in the initial stage, will be equilibrated. in the end. 2. The human capital of craft companies is constructed by recruiting diverse people, training personnel, exchanging technical information between internal and overseas companies, establishing R&D team, and reinforcing centripetal force. To protect the human capital, the companies should establish a common goal, form the business culture, emphasize team work, and provide training courses. 3. The process capital of craft companies is constructed by improving their business process, adopting the system of production management, requesting quality of products, building up factories in China, establishing the system of knowledge management, importing new technical tools, and obtaining equipments of production. To protect their process capital, these companies should establish the system of knowledge management, set up the database of R&D, and guard their human capital. 4. The innovation capital of craft companies is constructed by investing in key and auxiliary technology, developing diverse products to strengthen technical ability, exchanging technical information between internal and overseas companies to intensify technical ability, and obtaining patents. To protect their innovation capital, these companies should obtain a trademark and patents, and guard their human capital. 5. The relationship capital of craft companies is constructed and protected by making different consumer strategies, managing membership, designing innovative products, popularizing craft education, integrating all suppliers and channels, cooperating with international channels, and building up brand image. 6. The intellectual capital established by craft companies conform with the strategically target that craft companies want to develop their brand.

網際網路的發達，促成環境快速的變遷，單一化的企業經營型態，已無法在變動快速的商業生態圈中永續生存，而各國為了振新國內產業發展，與提升經濟水準，推出國家發展經濟政策，而在過去以代工為主的亞洲國家，為求轉型發展，文化創意產業，皆為亞洲各國近十多年來不可或缺的國家發展政策之一，以台灣為例，在2002年行政院即提出《挑戰2008：國家發展重點計畫》，「文化創意產業發展計畫」則為其發展計畫之一，台灣文化創意產業發展至今，文化創意結合青年創業，不斷出現更加創新的商業模式，與文創產業聚落和文創園區。 本研究以F公司為研究主題，F公司以活化空間改造，不動產租賃起家，但公司定位不以房東自居，以打造資源多樣性的平台為目的，提供微型創業者合適空間可發揮其才能。初階段平台打造過程中，F公司累積足夠各面向文化創意資源，進而成功轉型，以空間改造為核心，並發展文創聚落規劃設計與經營輔導，給予台灣更多老舊的建築，賦予新生命，在地創生，製造就業機會，吸引青年返鄉，扶植社會企業，讓人與人之間的美好，透過空間活化與街區的重新改造，而更加拉近關係，實現公司成立的主要訴求「創造幸福的小氛圍」。 本研究依個案研究法，深入訪談了解F公司創業初期至現今業務轉型的歷程，探討其經營困難因素與解決之道，本研究以商業模式圖分析其獲利模式，並以邱志聖(2014)策略行銷分析架構來探討其成效，其四種成本分別為：外顯單位效益成本、資訊搜尋成本、道德危機成本、專屬陷入成本。 研究發現F公司在現階段的業務主軸重心轉變為專案式業務，基石來自於初期的成功聚落典範標竿與將初期的目標客群文創業者，整合為關鍵合作夥伴，累積文創資源，形成資源庫，讓F公司有足夠實力可勝任各式在地化的專案街區活化或社區營造規劃業務。 研究結果認為，F公司在對應客戶的四個成本都具有相當大的優勢，以4C角度歸納出關鍵成功因素，並建議增加自媒體與年度節慶活動慶典持續舉辦的行銷宣傳，提高直接消費者粉絲數量，為微型創業者增加效益，更加降低承租人的C1，並且也將文創訊息與活動主動散播給更多一般直接消費者，而降低一般消費者的C2。 / In the past, the economic growth of Taiwan counts on exportation and OEM business, but this world is changing too fast when the internet comes into everyone’s life. The business model is also changing rapidly, too. Last 15 years, Most of Asia countries want to improve and invest culture and creative industry. In 2002 the Taiwan government decided to reform the system to promote and develop the cultural and creative industry. The development of "cultural and creative industry" was considered as one of the important tasks of Taiwan’s Challenge 2008 Six-Year National Development Plan established by Executive Yuan. And now, we can see many different types of business models in culture and creative industry in Taiwan. The Culture Creative Industry Park and Culture Creative Cluster with micro yang entrepreneurs are good examples. This study mainly focuses on the F company in culture and creative industry in Taichung. F company started up from refurbishing unused space and rent it to micro entrepreneurs. F company creates not only spaces but also a happy and creative platform where each entrepreneur can share the resource and ideas. It is exactly the mission F company wants to achieve. In this case study, F company is analyzed by "Business Model Canvas" and "Strategic Marketing 4C Analysis". It concludes F company have great 4C advantage for their clients. This study also suggests F company may consider expanding their "We-Media" and running regularly anniversary campaign to approach more potential clients and also enhance current client’s satisfaction and royalty. Therefore, C1 will be lower for the clients and C2 also will be lower for end-customers.

本研究從探討台灣及韓國兩國目前為扶植文化創意、數位內容產業所推動之發展政策比較，介紹兩國目前的推動政策內容以及發展狀態，並探討為振興整體產業，如何運用相關政策而帶動產業發展，且從中國家力量在推動產業時所扮演的角色及力量。透過台灣、韓國對文化創意、數位內容產業之相關推動政策比較，試圖探討執行政策之優缺點，再進一步比較截至目前為止的發展成果。此外，本研究介紹了台灣、韓國兩國近期在相關產業發展過程中所引發爭論的智財議題，在比較分析兩國文化創意、數位內容產業所面臨的智慧財產議題後，探討兩國在知識經濟時代如何保護運用相關智慧財產，及其與產業發展的關聯。為了解台灣、韓國文化創意、數位內容產業界實際現況及對於政府輔助政策的意見，並探討相關推動政策的實效等，本研究在訪談兩國相關企業後，找出目前產業實際問題所在且蒐集來自產業界的意見，最終導出本研究結果，並依據韓國文化創意、數位內容產業發展的歷程，對台灣文化創意、數位內容產業發展提出本研究的建議。 / This study started from the comparison of the Taiwanese and Korean government policies that are intended cultivate the development of culture creative and digital content industry. By introducing the measures and activities taken officially, we can clearly see how each government acts in the development of their culture creative and digital content Industry, following by discussing the pros and cons of the policies and further comparison of the achievements until now in Taiwan and Korea. On top of the background analysis of the culture creative and digital content industry in Taiwan and Korea, this study introduced the intellectual property related issues that were raised during the development, and discussed how they manage to protect and commercialize their intangible assets and how this effects to the industry. Interviews of local companies were conducted in order to evaluate how the Taiwanese and Korean policies work and see if that really meet the demands of the industry. The conclusion of this comparative study comes from the opinions of the industry, and since the Korean had gone further in the development of culture creative and digital content field, the study came out a few suggestions for Taiwan for their future development in these industries.