This thesis rest upon a distinction between the artistic creative process on the one hand and the architectural creative process on the other. This distinction rest upon the writers own experiences of both fields. The thesis aim to discuss similarities and discrepancies between the two and ground this reasoning in theoretical texts.  Starting out by analyzing the introduction of photography into the realm of architecture, this thesis makes the claim that our processes has since this introduction been increasingly ruled by the point of view of the camera and decreasingly ruled by our experiences as physical bodies in space.  Arguing that this has a negative impact on both the spaces we create and on the quality and joy of our creative processes the thesis connects this to the never ending aim for efficiency, an aim facilitated by computer software. The thesis proceeds by stating that this negative impact ought to be more analysed, and that architects might have things to gain by welcoming in parts that might seem evident for an artist in their processes i.e. time for reflection, a valuing of mistakes as holders of potential and knowledge, the notion of play, and the possibility to fail and perhaps even perceive those failures as treasures rather then perceive them as failed perfectionism.  In a fragment of my case study, accounted for in the appendix to this written report, the thesis dives in to one of the mistakes created during the architectural project of the thesis. Aiming to prove the point that no mistake is without potential, I let this case study illustrate how this specific mistake came to be a founding part of the whole project. The thesis argues that when one person sees and/or experiences what another might deem as a mistake, their interpretation might lead to new ideas and possibilities. Hence, in order for a project or an art piece to reach its full potential, the thesis concludes that no one should perform processes of architecture, nor art, completely alone.

Den här uppsatsen undersöker vilka aspekter som är viktiga för att skapa en röd tråd i genreöverskridande musik. Med en mångsidig musikalisk bakgrund och ett intresse för att skapa musik inom ett flertal olika genrer kände jag ett behov att hitta gemensamma nämnare i min musikproduktion. Målet var att identifiera de element som krävs för att uppnå enhetlighet i genreöverskridande musik samtidigt som den kreativa friheten bibehålls. Processen gick ut på att experimentera med olika genrer och produktionstekniker. Jag valde att skapa en gemensam ljudbild med hjälp av ljudval, mix och produktionsteknik för att på så vis uppnå en röd tråd i projektet. Genom att producera en analog ljudbild, kännetecknad av retro och varma egenskaper som påminner om musiken från 1970-talet till 1990-talet, strävade jag efter att sammanföra de varierande musikaliska elementen i de olika låtarna. Det innebar också att avgränsa arbetet till vissa specifika genrer såsom hip-hop, soul, RnB, pop, house, techno, indie, rock och garage. Låtarna kunde dessutom bestå av fusioner av dessa genrer.  Det här arbetet presenterar de kreativa processer som tillämpades, de resultat som uppnåddes, och de reflektioner som gjordes. Den ger insikter i hur jag balanserar friheten att utforska olika musikgenrer med behovet att uppnå en enhetlig musikalisk estetik. / This thesis explores the challenge of creating a cohesive collection of music that spans multiple genres. With a diverse background and interest in various music genres, I felt the need to seek a common thread in my music production. The goal was to find the elements necessary for achieving coherence in genre-crossing music while maintaining creative freedom. The process involved experimentation with different genres and production techniques. I focused on using analog sound emulations to establish a warm, retro sound throughout the project. It also involved selecting specific genres such as hip-hop, soul, RnB, pop, house, techno, indie, rock, and garage, and creating a collection of tracks that could include fusions of these genres. By maintaining an analog sound aesthetic, characterized by retro and warm qualities reminiscent of music from the 1970s to the 1990s, I aimed to unify the diverse musical elements. This thesis presents my journey, the creative processes that were applied, the outcomes that were achieved, and reflections on the experience. It offers insights into balancing the freedom to explore various musical genres with the necessity of a unified musical aesthetic.

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Si pendant de nombreuses décennies, la créativité a été décrite comme une activité solitaire, en référence à des caractéristiques individuelles possédées par certains individus, il est aujourd’hui établi que les relations jouent un rôle critique dans la création de connaissances (Perry-Smith, 2006). Néanmoins, en dépit de leur importance, les échanges interpersonnels ont reçu relativement peu d’attention en comparaison d’autres ressources utiles au processus créatif. Ce travail doctoral est donc consacré à l’étude du rôle des interactions sociales dans la dynamique du processus créatif. Les cadres théoriques mobilisés sont la théorie de la complexité et la théorie de l’échange social. Notre recherche empirique a été réalisée auprès de chercheurs de l’industrie dont le cœur de la mission est de nature inventive. Cette thèse est composée de trois articles, qui répondent à la question de recherche suivante : Dans quelle mesure et de quelle manière les interactions sociales jouent-elles un rôle dans le processus créatif ? Notre contribution théorique consiste à (1) apporter une définition plurielle de la créativité ; (2) mettre en évidence les différentes ressources sociales mobilisées, qui façonnent un processus créatif dynamique en deux méta-étapes (émergence et amplification des idées) ; (3) décrire trois formes d’échange social, sous-tendues par différentes logiques de réciprocité, qui jouent un rôle important au cours du processus créatif. Cette thèse souligne le rôle des interactions sociales dans le processus créatif et toute l’importance des moments de socialisation dans la vie des organisations qui souhaitent développer la créativité de leurs salariés / Although for many decades creativity has been described as a solitary activity that refers to individual characteristics possessed by certain individuals, today it has been established that relationships play a crucial role in the creation of knowledge (Perry-Smith, 2006). Nevertheless, despite their importance, interpersonal exchanges have received relatively little attention compared to other resources useful to the creative process (Bouty, 2000). This doctoral study is therefore devoted to examining the role of social interactions in the creative process. The theoretical framework draws on literature in the fields of complexity theory and social exchange. The empirical research was carried out among industrial researchers whose main mission is creative in nature. The thesis is composed of three articles, each of which treats a dimension of the overall research question: To what extent and in which ways do social interactions influence the creative process?The research contributes to theory building by (1) providing a plural definition of creativity; (2) highlighting the different social resources that researchers draw on and building a dynamic creative process divided into two meta-stages (emergence of ideas and their amplification); and (3) describing three forms of social exchange, underpinned by different logics of reciprocity that play an important role during the creative process.Overall, this thesis points out the importance of social interactions in the creative process and the full importance of moments of socialization within organizations wishing to develop their employees’ creativity

Esta dissertação de mestrado busca compreender a produção plástica das crianças na perspectiva do processo de sua elaboração. A pesquisa de campo se deu em oficinas de arte cerâmica, conduzidas e observadas pela pesquisadora, com um grupo de crianças entre 4 e 10 anos de idade. As oficinas foram oferecidas em uma escola da rede privada de ensino do município de São Paulo, nos anos de 2006 e 2007. Esta experiência forneceu elementos consistentes para a elaboração da reflexão pretendida neste trabalho. O tratamento do conjunto das vivências criativas desenvolvidas se inspira na pesquisa etnográfica e encontra bases conceituais na antropologia. Os dados da pesquisa de campo são registrados em forma de relatos e imagens fotográficas. A análise é feita a partir da experiência acumulada da pesquisadora como arte-educadora ceramista e de um referencial teórico, centrado principalmente nas obras analíticas da artista plástica e pensadora Fayga Ostrower, e nas as contribuições de José Antônio Marina, Anna Marie Holm, Cecília Almeida Salles, Jorge Larrosa e Gaston Bachelard. A compreensão das vivências de criação deste grupo de crianças, em arte cerâmica, permitiu que a autora vislumbrasse a presença de percursos criativos individuais. Estes percursos ofereceram elementos originais para uma compreensão mais aprofundada do papel, importante e significativo, que a vivência de processos criativos da arte pode representar no desenvolvimento da infância. Esta pesquisa leva em consideração a singularidade das individualidades e do processo de formação de cada criança, ampliando, dessa maneira, o diálogo entre arte e pedagogia. / This master dissertation seeks to understand children visual art work within the perspective of their elaboration process, which is taken as object of observation and reflection. The fieldwork took place in Clay Workshops for children, from 4 up to 10 years old. These workshops were conducted and observed by the researcher and were offered in a private school in the city of São Paulo, during the years of 2006 and 2007. This experience gave consistent elements for the elaboration of the reflection intended in this work. The treatment of the set of these creative living experiences was inspired in the ethnographic research, which has its conceptual bases in the anthropology. The data collected in the fieldwork are formed by reports and photographic images. The analysis was made taking into account the accumulated experience of the researcher as a ceramist/pottery maker and art educator, besides some theoretical references centered especially on the analytical work of Fayga Ostrower, and some contributions of José Antônio Marina, Anna Marie Holm, Cecília Almeida Salles, Jorge Larossa and Gaston Bachelard. The understanding of the creative experiences of this group of children in ceramic art allowed the author of this dissertation to see the presence of creative paths. These paths offered original elements that lead us to a deeper understanding of the important and meaningful role played by these art creative processes in the development of children. This research considers the singularity of the individualities besides the formation process of each child, enlarging, this way, the dialogue between Arts and Pedagogy.

Made available in DSpace on 2016-04-26T18:16:42Z (GMT). No. of bitstreams: 1 Lais Guaraldo.pdf: 94069379 bytes, checksum: e24b8828db2e271ff4247239e9458678 (MD5) Previous issue date: 2007-10-31 / This research is concerned about the process of creating illustrations in newspapers and magazines, and aims at analysing the factors that makes the process of creating this kind of illustration something unique in the editorial context. Here, our claim is the creation of journalistic illustrations is an intelligent act, which demands the use of different cognitive levels as well as political and aesthetic positioning. Besides it also demands the use of a number of expressive resources, which are somewhat, constrained by the demands of the industry.In this research, we analysed the creative process of three Brazilian artists: Carlos Matuck, Orlando Pedroso and Samuel Casal. These three artists were chosen due to their unique way of sealing (or not) with the digital support in pieces of art produced between 1989 and 2007.The analysis of the creative process followed the methods established by the genetic criticism at Semiotic approach, both developed by the Centre of Studies of Genetic Criticism of PUCSP (CECG), coordinated by Cecília Salles. The creative work is understood here in a context of both mobility and relational network. As such, it takes place in multiple spaces, in which a number of forces interact and recreate the environment. The aim of this research is the identification of the specificity of the network that builds and is built by the creative act.Journalistic illustration is a creative act inserted in a network made by industrial constrains, lack of time, relationship with text, technical choices, graphic procedures and a negotiation of what is innovation and what is cliché.So, this research is intended to contribute to the teaching of visual arts in the field of Communication Studies, studying and advocating in favour of the intelligent act on the visual production as well as the legitimacy of this means of expression / O processo de criação de ilustrações de jornais e revistas é o tema desse trabalho, que procura analisar os fatores que singularizam o processo de criação desse tipo de produção visual e sua contextualização no universo editorial. Defende-se aqui que a criação de ilustrações jornalísticas é uma ação inteligente, que mobiliza diferentes instâncias cognitivas, envolve posicionamento crítico e estético, e mobiliza recursos expressivos, em condições de trabalho marcadas por imperativos e constrangimentos industriais.Foram analisados nessa pesquisa os processos de criação dos trabalhos de três ilustradores brasileiros: Carlos Matuck, Orlando Pedroso e Samuel Casal. A escolha desses três nomes teve como critério suas diferentes formas de lidar (ou não) com as ferramentas digitais, com produções que ocorreram entre os anos de 1989 e 2007.A análise dos processos criativos foi feita com a metodologia da crítica genética com abordagem semiótica, nos moldes desenvolvidos pelo centro de estudos de crítica genética da PUCSP (CECG), coordenado por Cecília Salles. O trabalho criativo é compreendido aqui num contexto de mobilidade e rede relacional, ocorrendo em lugares múltiplos, onde forças interagem e reconfiguram o próprio meio. O objetivo central dessa pesquisa é a identificação da especificidade dessa rede, que constrói e é construída pela ação criativa.Trata-se de uma ação criativa inserida numa trama composta de circunstâncias industriais de produção, escassez de tempo, estratégias de construção de relações com o texto, escolhas técnicas, procedimentos compositivos gráficos e negociações entre a invenção e o clichê.Pretende-se com esse trabalho contribuir para o ensino da visualidade na área da comunicação, defendendo e investigando a ação inteligente envolvida na produção visual e a legitimidade desse tipo de expressão

Made available in DSpace on 2016-04-26T18:16:44Z (GMT). No. of bitstreams: 1 Maria Silvia Bigareli.pdf: 6401288 bytes, checksum: 1977235d771a65a7d97821bbd8f4cda6 (MD5) Previous issue date: 2007-12-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis has as its main objective to investigate Italo Calvino´s creative mechanism analyzing its process, giving emphasis to the procedures called combinatory games, presented as rules and ludic strategies which apply to other games with the reader's interpretation, allowing through semiosis that the communicational principles move in an unlimited and multiple way. The research wanted to understand if those combinatory operations had a very big influence in the author's Poetic Project and if those rules, used on purpose, were fundamental to his concepts about multiplicity. Denominated by the author hyperromances, the hypertextual procedures of these combinatory games are related to the new creative process in the medias, because the attributes used (non-linearity, virtual possibilities, mobility, multiplicity etc) find in the digital means´ features the appropriate support model to the translation of these procedures. The main objects of the research's corpus are: the author's reflexive texts about his own creative process and the books The Castle of Crossed Destinies, Invisible Cities, If on a Winter s Night a Traveler (in which the author metaliteralily talks about the reader's issue), and the short-story The Count of Montecristo. As for Calvino´s communicative process, our focus is on the variants´ ways, in the multiple paths possibilities. We were instigated by the rules of each combinatory game, we wanted to go through the diagrammatic draw implicit in each text, observe his choices, the selection among so many possible configurations and afterwards relate the similarities and the generalizations of his project as a whole (understanding whole as integrations and not completion. The research, with an analytical character, is based on the Process Critics, supported by the Peirce's Semiotics and it analyses the communicative phenomena studying the process of the artistic creation. In addition, we also used theoretical perspectives related to the studies about complexity, about the ludic and the potential space and about the new medias. According to the nature of the research, the methodology used includes mostly the bibliographical research and the use of objects taken as references by the author while creating his games, such as tarot cards, and it contemplates comparative analysis of the combinatory associations used and their possible interpretations / Esta tese tem como principal objetivo investigar os mecanismos de criação de Italo Calvino sob uma perspectiva processual, enfaticamente os procedimentos denominados jogos combinatórios, apresentados como regras e estratégias lúdicas que se ampliam em outros jogos com a interpretação do leitor, permitindo através da semiose que os princípios comunicacionais se movimentem de forma ilimitada e multíplice. A problemática da pesquisa buscava compreender se tais operações combinatórias ocupavam predominante interesse no Projeto Poético do autor e se tais regras, intencionalmente utilizadas, foram fundamentais para sua conceituação sobre multiplicidade. Denominados pelo autor de hiper-romances, os procedimentos hipertextuais desses jogos combinatórios se relacionam com os novos processos de criação nas mídias, pois os atributos utilizados (não-linearidade, possibilidades virtuais, mobilidade, multiplicidade etc) encontram nas características dos meios digitais o modelo de suporte apropriado para a tradução desses procedimentos. Como principais objetos do corpus da pesquisa estão os textos reflexivos do autor sobre seu próprio processo de criação e as obras O Castelo dos Destinos Cruzados , Cidades Invisíveis e Se um Viajante numa Noite de Inverno (em que o escritor metaliterariamente se pauta na questão do leitor), além do conto O Conde de Monte Cristo . No âmbito do processo comunicativo de Calvino, o nosso foco localiza-se nos caminhos das variantes, nas possibilidades múltiplas de trajetórias. Instiga-nos entender as regras de cada jogo combinatório criado, percorrer o desenho diagramático implícito em cada texto, observar as escolhas, as seleções dentre tantas configurações potenciais, e relacionar posteriormente as similaridades e generalizações do seu projeto como um todo (entendendo todo como integração e não completude). A pesquisa de caráter analítico é fundamentada na Crítica de Processo sustentada pela Semiótica Peirceana e analisa os fenômenos comunicativos a partir de uma perspectiva processual da criação artística. Em complemento, foram utilizadas perspectivas teóricas atinentes ao âmbito de estudos sobre complexidade, sobre o lúdico e o espaço potencial e sobre as novas mídias. Em consonância com a natureza da pesquisa, a metodologia adotada inclui predominantemente a pesquisa bibliográfica e o uso de objetos materiais tomados como referência pelo autor na estruturação de seus jogos, tais como baralhos de tarô, e contempla análises comparativas das associações combinatórias utilizadas e as possibilidades interpretativas das mesmas

Made available in DSpace on 2016-04-29T14:23:45Z (GMT). No. of bitstreams: 1 Julia Camille Blumenschein.pdf: 51220053 bytes, checksum: 59459b6806cfe5846d1dabdfd705ec7e (MD5) Previous issue date: 2008-07-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This essay aims to discuss and problematize the process of development of art works of a collective. To achieve this, questions that involve the net creation, the Umwelt concept and aesthetics experience are tackled. To reach the process itself, models and different creation stages are proposed to develop a methodology from the study of phases. It pursuits to use a whole basis to analyse the process, since that creation cannot be understood as being linear and also there are oscillations during the works elaboration, in a continuous net of influences  as much objective  as subjective exchanges.   The documents of the process of the art group SCIArts are used, as declarations of the members in dialog with specialists of various areas. As bibliographic reference, the reflection is based upon the studies of Salles, Shustermann, Dewey, Uexküll, Lévy, Laurentiz and artists such as Oiticica and Duchamp, since the research has a multidisciplinary domain. It perceives the process and appraises how the group struggle with questions that appear during the art-making and that modifies the work in progress. This essay is within the field of aesthetic technology, especially at installation-based art domain, works developed by the mentioned collective. Is intended to evaluate the relations between technologies and the creative process and also to reach part of the complexity of the collaborative and multidisciplinary art-making / A presente dissertação discute e problematiza o processo de desenvolvimento e de obras de arte de um coletivo. Para isso, são abordadas questões que envolvem a criação em rede, discussão sobre coletivos inteligentes, conceito de Umwelt e experiência estética. Para abarcar a questão do processo, são propostos modelos de autoria bem como fases da criação, a fim de desenvolver uma metodologia a partir do estudo por etapas. Procura-se utilizar uma base holística para avaliação do processo criativo, pois a criação não pode ser entendida como linear e há oscilações durante a gestação de obras numa contínua rede de influências e trocas tanto objetivas quanto subjetivas. São utilizados documentos de processo do grupo SCIArts, bem como depoimentos dos integrantes em diálogo com teóricos de áreas diversas. Como referencial teórico, a reflexão se fundamenta nos estudos de Salles, Shustermann, textos de Dewey, Uexküll, Lévy, Laurentiz e artistas como Oiticica e Duchamp por ser uma pesquisa de caráter multidisciplinar. Observa-se o processo e avalia-se a maneira como o grupo lida com questões que surgem durante o fazer artístico e modificam a obra em desenvolvimento. A presente dissertação insere-se no campo das estéticas tecnológicas, mais especificamente em instalações interativas, obras mais desenvolvidas pelo coletivo em questão. Procura-se avaliar as relações existentes entre tecnologias e processos criativos, bem como abranger parte da complexidade do fazer artístico colaborativo e multidisciplinar na arte contemporânea

Made available in DSpace on 2016-04-26T18:17:09Z (GMT). No. of bitstreams: 1 Joao Vicente Cegato Bertomeu.pdf: 36291374 bytes, checksum: 1f4e8d5dd7b288ccfe160e88f48535d3 (MD5) Previous issue date: 2008-05-12 / The research aims to study the creating process of advertising movies in order to identify and to go in-depth of their specificities as well as in the colective process involving customer, agency and production firm. The study also strives to understanding the process involving conception and production when a persuasive communication takes place globally. The concept and fundamentals of the construction of the hibrid culture as well as its role in the advertising discourse will be analysed. The conception will be analysed from the view of the companies - in the marketing aspects of the agencie´s creative people - as well as in the persuasive search of the world language and the producer firm - in the technical aspects of the production. We use the genetic criticism as methodology and processual documents of advertising campaings developed by relevant agencies based in Sao Paulo (AlmapBBDO, JWThompson, MatosGrey, DPZ, Neogama, McCann Erickson, DM9DDB) were selected. Interviews and professional testimonials of those involved in the conception process of those campaigns were used. Concerning the theoretical framework, the theory of conception based on semiotics was used. The following authors were quoted in terms of theories of conception and creativity: Kotler and Armstrong, for the conception in the creating and creative process: Salles and Ostrower and regarding the matters of international business and global communication: Keegan and Levitt. The audiovisual language was used with the support of : Comparato, Aumont e Carriére; in the especificities of the advertising language: Vestergaard and Sodré; and culture, semiosphere, hibridization and global communication: Morin, Lotman, Martín-Barbero, Pinheiro, Canclini and Mattelart, respectively. In the final discussion, it was used the conception of global advertising movies in a creative process as a process net, extensively collective, complex and dynamic, developed by a multi-knowledge professionals who seek to achieve a global audience together / Esta pesquisa tem como objetivos estudar o processo de criação de filmes publicitários para identificar e conhecer suas especificidades, como processo coletivo envolvendo os profissionais do cliente, da agência e da produtora. O estudo tem como foco a análise dos processos que envolvem a criação e a produção quando a comunicação persuasiva se dá em nível global. Serão abordadas as fundamentações das construções da cultura híbrida e seu papel na construção do discurso publicitário. A criação é analisada pela ótica das empresas nos aspectos mercadológicos, dos criadores das agências - na busca persuasiva da linguagem mundial e da produtora - nos aspectos técnicos da produção. Utilizamos a crítica genética como metodologia e foram selecionados os documentos de processo de campanhas de propaganda desenvolvidas por agências de grande porte na cidade de São Paulo (AlmapBBDO, JWThompson, MatosGrey, Young&Rubicam, Neogama, DM9DDB). Serão empregados também entrevistas e depoimentos de profissionais envolvidos no processo de criação dessas campanhas. Quanto à abordagem teórica, utilizamos a teoria da criação com base semiótica. Para as teorizações de comunicação e mercado, Kotler e Armstrong; para as abordagens em processos de criação e criatividade, Salles e Ostrower; e, em negócios internacionais e comunicação global, pesquisamos Keegan e Levitt. Abordamos a linguagem audiovisual com o apoio de Comparato, Aumont e Carriére; nas especificidades da linguagem publicitária, Vestergaard e Sodré; e, em cultura, semiosfera, hibridização e comunicação global, respectivamente, Morin, Lotman, Martín-Barbero, Pinheiro, Canclini e Mattelart. Nas considerações finais, procuramos discutir a criação dos filmes publicitários globais como rede em processo, amplamente coletivo, complexo e dinâmico, desenvolvido por profissionais diversificados, que, juntos, buscam alcançar públicos mundiais