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White paper on creativity - ebla center

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Chapter 10Public relati<strong>on</strong>s and corporate communicati<strong>on</strong>sAdriana Mavellia, President of the Services Group for Corporate Communicati<strong>on</strong>, AssolombardaCorporate communicati<strong>on</strong>s and public relati<strong>on</strong>s make a twofold c<strong>on</strong>tributi<strong>on</strong> to theec<strong>on</strong>omy of <strong>creativity</strong>: they are used in corporate advertising and in marketing, but havealso given rise to the communicati<strong>on</strong>s c<strong>on</strong>sulting industry in additi<strong>on</strong> to specificcompany departments.The communicati<strong>on</strong>s industry supplies professi<strong>on</strong>al c<strong>on</strong>sulting and services throughagencies, integrated communicati<strong>on</strong>s groups, professi<strong>on</strong>al studios, and individualc<strong>on</strong>sultants who work through professi<strong>on</strong>al figures and employees with str<strong>on</strong>gly inclinedto <strong>creativity</strong> either because of their educati<strong>on</strong>al background, ad hoc training or pers<strong>on</strong>alattitudes and skills.From this we can easily understand how the educati<strong>on</strong>al chain entails acquiring skills inschools and universities (specialist degrees, master’s degrees, professi<strong>on</strong>al courses, etc.).The sec<strong>on</strong>d element of <strong>creativity</strong> acting within the communicati<strong>on</strong>s groups and smallerentrepreneurial structures lies in the design of corporate strategies: creative projectsdevised to solve the problems of external and internal communicati<strong>on</strong>s of clientcompanies. Here induced activities are generated by the supply chain of <strong>creativity</strong>specialists who often act by checking the feasibility of the projects. On thecommunicati<strong>on</strong>s users side (public and private enterprise), there can also be ac<strong>on</strong>tributi<strong>on</strong> to the ec<strong>on</strong>omy of <strong>creativity</strong>, albeit to a lesser degree, through someprofiles of company employees involved in communicati<strong>on</strong>s management. Whenstrategies and projects are implemented by the companies it generates a l<strong>on</strong>g chain ofclassic <strong>creativity</strong> (design, <str<strong>on</strong>g>paper</str<strong>on</strong>g> products, video, installati<strong>on</strong>s, stage designs, objects) orinnovative forms of <strong>creativity</strong> (web, guerrilla advertising, etc.).Lastly, although more difficult to quantify, we should not underestimate the creativec<strong>on</strong>tributi<strong>on</strong> that corporate communicators make to company management, includingproducts and services as a company’s resp<strong>on</strong>se to tuning into the requirements of societyand the market.Of course, including corporatecommunicati<strong>on</strong>s in the framework of<strong>creativity</strong> applied to relati<strong>on</strong>al dynamicsin companies is well circumscribed bythe c<strong>on</strong>cept of “communicati<strong>on</strong>alcompetence” which describes “the setof linguistic and extra-linguistic abilities(the latter of a social and semiotictype), and c<strong>on</strong>solidates in them all thatis indispensable for efficient, effectivecommunicati<strong>on</strong>” (Morelli, 2003).Trends in public communicati<strong>on</strong>sAdvertising it is not <strong>on</strong>ly c<strong>on</strong>cernedwith promoting the name of a brand.There is also a well structured sectorcalled public communicati<strong>on</strong>s(Rolando, 2003), or communicati<strong>on</strong>s ofpublic utility (Rolando, 2004) or als<strong>on</strong><strong>on</strong>-profit communicati<strong>on</strong>s, including“the set of communicati<strong>on</strong>s activitiesimplemented by a public or privateplayer to promote n<strong>on</strong>-profit aims”WHITE PAPER ON CREATIVITY 243

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