Considering how to communicate your research or engage others with the latest science, social science or humanities research? This book explores new and emerging approaches to engaging people with research, placing these in the wider context of research communication. Split into three sections, Creative Research Communication explores the historical routes and current drivers for public engagement, before moving on to explore practical approaches and finally discussing ethical issues and the ways in which research communication can contribute to research impact. Starting from the premise that researchers can and ought to participate in the public sphere, this book provides practical guidance and advice on contributing to political discourse and policymaking, as well as engaging the public where they are (whether that is at the theatre, at a music festival or on social media). By considering the plurality of publics and their diverse needs and interests, it is quite possible to find a communications niche that neither offers up bite-sized chunks of research, nor conceptualises the public as lacking the capacity to consider the myriad of issues raised by research, but explains and considers thoughtfully the value of research endeavours and their potential benefits to society. It’s time for researchers to move away from one-size fits all, and embrace opportunities for creative approaches to research communication. This book argues for a move away from metrics and tick box approaches and towards approaches that work for you, as an individual researcher, in the context of your own discipline and interests.
Internationally, public engagement and communication has become an important aspect of research and policymaking, allowing research establishments, and their researchers, to explore public perspectives on their work as well as providing access to research findings to wider publics. Alongside this, a considerable research communication and public engagement community has emerged, who are interested not only in the design, techniques and methods for research communication and engagement but also approaches to communicating creatively and evaluating the
Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé and Ben Wubs
creative process within luxury conglomerates remained autonomous and decentralized, according to the existing literature. 1
The French holding company Moët Hennessy Louis Vuitton (LVMH), the world’s largest fashion and luxury group, is an excellent embodiment of this organizational change. 2 Today, LVMH presides over a €35 billion (approximately $39 billion) luxury and fashion empire from headquarters in the upmarket eighth arrondissement in Paris. This chapter is a case study of LVMH that explores the evolution of the fashion and luxury industries, entrepreneurship
Peter John, Sarah Cotterill, Alice Moseley, Liz Richardson, Graham Smith, Gerry Stoker, and Corinne Wales
varied by these local agencies, as they learn from experience. And it was this creative process of using nudges that our design experiments attempted to reproduce. In this way, the time-limited nature of nudges is not a disadvantage because public agencies and other partners are continually using a wide range of time-limited strategies to improve public policy.
The fifth limitation stems from the collaboration needed to implement nudges involving public agencies. The messiness of everyday policy-implementation means that it takes a lot of effort to get a nudge
an unwavering commitment to the goal of anti-capitalist social transformation, a transparent sense of humanity and a conception of democracy informed by vital liberal assumptions. This is a combination still to be commended, I believe, today.
Norman Geras, 2002 1
In a body of work marked by the meticulous exegesis, scrupulous critique and creative development of the classical Marxist tradition, Norman Geras established himself as the twentieth-century Marxist theoretician we need most in the twenty-first century. Why? Three reasons: few understood
. While this is certainly
not peculiar to artists in the Asian region, we contextualise the history of both
cultural and political activism in this region specifically as it touches on the
creative field. We approach the issue by presenting case studies of three artists – Wong Hoy Cheong from Malaysia, Dadang Christanto from Indonesia,
and Vasan Sitthiket from Thailand – who can be designated activist artists.
Generally, scholars distinguish cultural from political activism; the former
refers to the production of creative artefacts and events designed to mobilise affect
than public, but should remind Arab leaders that tolerance of support for radical Islamist movements and parties is inconsistent with a close partnership with the United States and other Western countries.
Box 1. What do we mean by “radical centrist populism”?
Radical : Because the goal is to move decisively away from today’s highly partisan conflicted politics and to be willing to consider creative and even revolutionary ideas from the left or right if they will benefit the people and are consistent with liberal democracy. A great historical example of radical
Pedro Paterno’s Filipino deployment of French Lamarckianism
Megan C. Thomas
oppositional to the presumptions of European colonialism in the ways that we might
desire. His thought can teach us much, not just about the subjects on which he
writes, but also the ways that thought can travel and be transformed in what might
seem the oddest ways. His writings demonstrate how colonial appropriations of
European thought can unsettle our expectations of them; they invoke political
claims that are neither repetitions of European supremacism nor challenges to
presumptions of racial inequality. They teach us about the way that one ambitious, creative young man
of global capitalism. They are, as it were, ‘levelled’ by always being traced back in their turn to capitalism and imperialism, so that they become lesser evils and their direct agents and perpetrators lesser enemies.
In conclusion, then, I have considered three meanings of ‘being a Marxist’. They can go together or they can come apart. Marxists in the first and second meanings may also be Marxists in the third meaning; or they may not. However, unless a Marxism of personal belief and a Marxism of creative intellectual work both thoroughly renewed and wrested
The fashion industry has long been a particular victim of the borders between academic disciplines that have pursued their own agendas and employed their own language with minimum dialogue with outsiders. This book represents a sustained interdisciplinary and global assault on such artificial constraints which have constrained much research on the fashion industry in the past. Many historical studies have heavily focused on the ecosystems of Paris, Milan, New York, and other fashion hubs. It breaks new grounds as the authors trace the actors involved, from the luxury conglomerate LVMH to retailers, including the iconic Swedish firm H&M. The book also emphasizes the work of fashion professionals who worked behind-the-scenes as intermediaries: trendsetters, retail buyers, stylists, art directors, advertising executives, public relations agents, brand managers, and entrepreneurs. It examines the transition from the old system to the new in a series of case studies grouped around three major themes. The book deals with the transformation of Paris from a couture production centre to a creative hub for design and brand management. It examines the special role of retailers and retail brands in promoting European fashion, with reference to transnational exchanges between Europe, America, and the wider world. The book explores seminal developments in a select group of global fashion hubs on the European periphery or entirely outside of Europe, and their roles in critiquing the mainstream fashion system with heritage marketing, vintage aesthetics, ethical brands, and local styles.