Terms of the Creative Industries: Definition and Management

RASUOLĖ VLADARSKIENĖ

Vilnius Gediminas Technical University

KEYWORDS: creative industries, creativity, creativeness, terminology dictionary

In the 21st century, creativity has emerged as a particularly important activity in postmodern society, connecting creators (creative society, creative class, creative groups), creative activity (creative thinking, creative work, creative business, creative services, creative learning), and creative products. As the creative economy becomes increasingly established and technologies gain ever wider currency everywhere, creativity is emerging as an essential competence for the modern worker. In the creative age, creative professions associated with the latest scientific and technological achievements are also gaining new momentum. In this context, creative industries began to be discussed as a distinct, promising economic sector in which two different fields—art and commerce—come together. Creative-industry specialists are trained at several higher education institutions: Vilnius Gediminas Technical University, Vytautas Magnus University, Mykolas Romeris University, and Kazimieras Simonavičius University (which offers study programmes bearing this name). Specialists working in these fields are also trained at Vilnius University, the Vilnius Academy of Arts, the Lithuanian Academy of Music and Theatre, and several colleges.

The aim of the article is to discuss issues in the management of terminology in this field of activity, having clarified the concept of creative industries and taken into account the actual use of terms in this economic sector.¹

THE CONCEPT OF CREATIVE INDUSTRIES

The term “creative industries” appeared in Lithuanian at the beginning of the 21st century; it is the equivalent of the English term creative industries. In the IATE database, English

¹This article was prepared as part of the research project “A Study of the Functioning of Foreign Words in Professional Language,” funded by the State Commission of the Lithuanian Language under the 2011–2020 Programme for Research into the Functioning and Change of Standard Lithuanian, Dialects and Other Language Varieties.

Terminologija | 2017 | 24

177

There is no plural-form term in the language for creative industry, but the following singular-form equivalents are given: Lithuanian kūrybos pramonė; German Kultur- und Kreativwirtschaft; French industrie créative; Italian industria creativa; Latvian radošā industrija; Polish przemysł kreatywny; Bulgarian творческа индустрия; Czech kreativní odvětví / tvůrčí odvětví; Danish kreativ industri; Spanish industria creativa; Estonian Loomemajandus; Finnish luova ala; Croatian kreativna industrija; Hungarian kreatív ágazat; Macedonian industrija kreatttiva; Dutch creatieve bedrijfstak; Portuguese indústrias criativas; Romanian industrie creativă; Slovak kreatívny priemysel; Slovenian kreativna industrija; Swedish kreativ näring. As can be seen, in many European languages, compounds containing international roots predominate, whereas the Lithuanian term is formed from native words.

The Lithuanian term kūrybinės industrijos consists of the plural form of the international noun industrija (cf. the Lithuanian equivalent pramonė for industrija given in TŽŽ) and the adjective describing it, kūrybinis, -ė. DLKŽ states that this adjective is derived from the first meaning of the noun kūryba: “creative work, creation: Artistic, technical c.” By the way, the meanings of the words forming this compound do not encompass the concept of the notion under consideration, but they indicate a possible line of reasoning: this is activity in which creativity is linked with industry. In the opinion of philosopher Tomas Kačerauskas, “there is a certain contradiction inherent in this term. On the one hand, the attribute ‘creative’ refers to non-repetitive, individual, original creation; on the other hand, the term ‘industries’ indicates that it is a form of serial production, both in terms of the product of creation and the production of demand and consumption” (Kačerauskas 2014: 10). Indeed, the concept of kūrybos has expanded in the 21st century—the century of creativity; it encompasses not only activity in the arts and sciences, but any activity requiring creative solutions (for more, see Stunžinas 2017).

Legislation opened the way into the Lithuanian language and Lithuania for the term Kūrybinių industrijų and the field of activity it denotes, by specifying the need for this activity. One of the measures for implementing the Government of the Republic of Lithuania’s 2004–2008 programme, approved by resolution on 24 March 2005, was to “[p]repare a Strategy for the Promotion and Development of Creative Industries.” The strategy was approved by order of the Minister of Culture on 28 March 2007, and defined creative industries as “activities based on an individual’s creative abilities and talent, the aim and outcome of which are intellectual property and which can create material well-being and jobs.”

178

Rasuolė Vladarskienė | Kūrybinių industrijų terminai: aprėptis ir tvarkyba

Researchers in other countries have varying conceptions of kūrybinių industrijų, but most identify the sector’s essential characteristics: namely, that it involves using creativity to produce intellectual property with added value (for more, see Černevičiūtė et al. 2015). Thus, the term kūrybinės industrijos denotes a field of activity in which business, communication, technology, culture, and art intertwine.

Different classifications of creative industries are used in different countries (for more, see Černevičiūtė et al. 2015). In Lithuania, creative industries include crafts, architecture, design, film and video art, publishing, visual and applied arts, music, software and computer services, the creation and broadcasting of radio and television programmes, advertising, performing arts, and other fields combining cultural and economic activity (Strategy for the Promotion and Development of Creative Industries 2007). These fields can be grouped into: 1) activities encompassing traditional art forms (visual and applied arts, film and video art, performing arts, music, architecture); 2) design and crafts associated with art and mass production; 3) communication (publishing, the creation and broadcasting of radio and television programmes, advertising); 4) computing (software and computer services); and 5) other fields combining cultural and economic activity.

TERMINOLOGY MANAGEMENT

The terms used in the field of creative industries can provisionally be divided into two groups: general terms and terms from specific fields.

General terms

The existence of creative industries as a particular kind of activity depends on the people working in this field, who are called creative workers, creative employees, creative professionals, representatives of creative professions. Drawing on creativity, they seek to achieve the greatest possible economic profit. When considering the purpose and basis of operation of this economic sector, the question arises of how to define the terms denoting its most important concepts. First and foremost, this concerns the conceptions of the terms denoting the key concepts kūrybingumas and kūrybiškumas, which are explored by scholars of creative society from various academic fields. One of the first to identify the distinction between these concepts, drawing on Lithuanian dictionaries, was Viktorija Daujotytė. In her view, “[t]he suffix –ing– indicates possession of creative powers. It elevates a person, gives them exceptional opportunities to create

Terminologija | 2017 | 24

179

the prominence, intensity of creativity.” The literary scholar believes that creativity is more closely connected with action: “a creatively acting person finds unexpected solutions, sees ways out, turns in an unforeseen direction, notices what had previously gone unnoticed or uncomprehended” (Daujotytė 2010).

Later definitions of creativity and creative ability offered by scholars draw largely on V. Daujotytė’s insights. The philosopher Jovilė Barevičiūtė (2014: 20–21) thinks similarly:

“Creativity is related to a person’s psychological type, emotional disposition, way of thinking, their orientation in certain unforeseen or specific situations and environments, finding ways out and making decisions under unexpectedly altered circumstances, and so on. Creative ability, on the other hand, is determined by the abilities, capacities, or talents a person possesses—the ability to convincingly portray a role in a play, speak expressively before an audience, properly master the techniques of singing or dancing, etc.”

It is true that creativity acquires new features in the creative industries. Literary scholar Laura Laurušaitė believes that “the establishment of the creative industries has fundamentally expanded and newly foregrounded the concept of creative ability, so that it is now associated with a successful career and corresponding financial returns” (Barevičiūtė 2017).

It must be acknowledged that these terms are also confused in usage. Although the two terms mentioned denote different concepts, they are often used as synonyms. Robertas Stunžinas criticizes this situation; in his view, not only can one find synonymous terms used inappropriately in actual usage, but dictionaries of terminology also provide imprecise definitions of these concepts (Stunžinas 2017). However, J. Barevičiūtė (2014: 21) believes:

“These two quite different, yet also closely related things—creativity and creative ability—interact closely in virtually any activity, so setting them against each other would be inappropriate. <...> A creative milieu or environment generates favorable conditions for the expression and dissemination of creative ability. Or, to put it more strongly: only someone who is creative can have creative ability. For creativity and creative ability are like two branches of the same tree; creativity is inseparable from creative ability, and vice versa”:

Terms of Specialized Fields and Their Dictionaries

In the Terminology Bank of the Republic of Lithuania², terms attributable to the creative industries could be searched for under the following fields: culture (Terminology Bank-

² Available online: http://terminai.vlkk.lt, accessed 2017-05-25.

180

Rasuolė Vladarskienė | Kūrybinių industrijų terminai: aprėptis ir tvarkyba

… can be found 154 terms assigned to this field); communications (5,160 terms); tourism (49 terms); economics (partially) (14,510 terms). The field’s diversity also results in terminology that is organized unevenly.

At least the basic terms for traditional art fields are reasonably well organized: more than one well-prepared dictionary has been published, the terms have been considered by the State Commission of the Lithuanian Language (hereafter, VLKK) or reviewed by editors, and correct terms are presented in encyclopedias and scholarly and educational literature. Terms for activities encompassing traditional art forms can be found in the following dictionaries and encyclopedias: Universal Art Dictionary: From Ancient Times to the Present 1998; Dictionary of Art Terms 1999; Dictionary of Art 1999; Music Encyclopedia vols. 1–3, 2000–2007; Music Terms and Concepts 2002; Illustrated Dictionary of Architectural History 2007; Instrumentation Terms 2007; Glossary of Music Terms 2008; An Introductory Alphabet of Choreography 2008; An Introductory Alphabet of Music 2008; English–Lithuanian Explanatory Dictionary of Architecture 2009; Glossary of the Most Commonly Used Ballet Terms 2009; Encyclopedia of Aesthetics 2010; School Dictionary of Art Terms 2011.

Heritage terms are found in Lithuanian Ethnography: An Encyclopedic Dictionary 2015, while terms from the field of communications are found in Encyclopedia of Journalism 1997.

Dictionaries of economic terms also include terms used in creative-industry activities, particularly relevant marketing terms. The most recent dictionaries of economic terms are: B. Martinkus, B. Neverauskas, A. Sakalas, R. Venskus, V. Žilinskas. Explanatory Dictionary of Business Management Terms 2000; Explanatory English–Lithuanian Dictionary of Economics 2008; R. Vainienė. Dictionary of Economic Terms 2008. The electronic Business News Dictionary of Economic Terms has been somewhat revised (http://zodynas.vz.lt/apie.php).

Terms related to computer services are fairly well organized; more than one computer terminology dictionary has been published, for example: V. Dagienė, G. Grigas, T. Jevsikova. Encyclopedic Dictionary of Computer Science 2000; V. Žalkauskas. Dictionary of Modern Computer Programs and Networks 2003; V. Dagienė, T. Jevsikova, G. Grigas. Explanatory Dictionary of Computer Science Terms 2016; V. Dagys, V. Dagienė, T. Jevsikova, G. Grigas. English–Lithuanian Dictionary of Computer Science 2015; S. Maskeliūnas. Glossary of Information Technology (and Web Technology) Terms 2015. These dictionaries are available on the Raštija.lt website.

The main problem in organizing creative-industry terminology is finding a suitable Lithuanian equivalent for an English term. A set of the latest standardized terms used in the creative industries…

Terminologija | 2017 | 24

181

… is presented in the List of Foreign Word Equivalents, approved by VLKK (www.vlkk.lt), for example:

• art terms: nonfigurative art, body art, body art, body painting, environmental art;

• film terms: trailer, promotional short, non-commercial cinema, video art;

• music terms: bebop, big band, big beat, bluegrass, blues performer, blues musician, breakdance, breakdancer, boogie-woogie, country (kantri) genre, country (kantri) music, (kantri) rock, disco genre, disco music, Dixieland, funk, funk music, free jazz, cumbia, cool jazz;

• media terms: audio blog, blog, blogging, blogger, blog review, blogosphere, photo blog, mobile blog, video blog, media, media art, playlist.

The situation is more complicated for terminology in the communications and media fields, where online dictionaries and glossaries are particularly widespread. They are mostly translation dictionaries, providing Lithuanian equivalents for English terms, since Lithuanian texts need to name realities for which Lithuanian does not yet have an established designation. Some online glossaries are better organized, for example RTŽ 2007, prepared by the Lithuanian Association of Communication Agencies (KOMAA) and reviewed by VLKK. It is an English–Lithuanian terminology dictionary with definitions in Lithuanian. The terms are arranged according to their English equivalents. AMŽ is also well prepared; it too is a translation-based English–Lithuanian terminology dictionary. These dictionaries are not large and would more aptly be called glossaries. RTŽ 2007 contains 304 terms, while AMŽ contains 467.

When seeking suitable Lithuanian equivalents, one often encounters the problem that accurately naming a concept in Lithuanian requires using a longer term than in English. Therefore, the length of the English terms and their Lithuanian equivalents in these glossaries was compared. It emerged that most terms are of the same length: AMŽ has 318 such terms, or 68.1 percent, for example: framing (English framing); screenplay (English script); film art director (English art director); computer game (English video game); character creator (English character designer); expansion pack (English expansion pack); 3D sculpting (English digital sculpting); educational entertainment (English educational entertainment); virtual sport (English electronic

182 Rasuolė Vladarskienė | Kūrybinių industrijų terminai: aprėptis ir tvarkyba

sports). In RTŽ 2007, the number of cases in which English terms and their Lithuanian equivalents consist of the same number of words is even higher—77.3% (235), for example: representative advertising (English advocacy advertising); barter agreement (English barter syndication); creative brief (English creative brief); creative execution (English creative execution); big idea (English big idea); concentrated marketing (English concentrated marketing); competition-oriented pricing (English competition-oriented pricing).

AMŽ lists 134 terms whose English equivalents are shorter than the Lithuanian terms (28.7%), for example: copyright (English copyright); flighted advertising (English flighting); dialogue writer (English dialogist); cutscene (English cutscene); enlarged model (English bigature); celebrity appearance (English cameo); backlight (English backlighting); camera operator’s assistant (English grip); potential funding generation (English generation); short film description (English logline); fixed program time (English slot), and 15 (3.2%) terms whose Lithuanian equivalents are shorter, for example: exposure sheet (English exposure sheet); focus puller (English focus puller); continuity cut (English continuity cut); completion guarantee (English completion bond guarantee); flat-fee license (English flat fee licence agreement).

RTŽ lists 53 Lithuanian terms longer than their English counterparts, amounting to 17.4%, for example: animatic clip (English animatic); adjacency advertising (English adjacencies); character appeal (English attractiveness); sales promotion contest (English contest); ideas and copywriter (English copywriter); package with a free gift (English bonus packs), and 16 terms (5.3%) shorter than their English equivalents, for example: contribution (English contribution margin); self-regulation (English self regulation); variable pricing (English open rate structure); consumer socialization (English consumer socialization process); projected sales percentage method (English percentage of projected future sales method).

In the absence of Lithuanian terms, it appears that the aim of the compilers of online glossaries is to explain the meanings of English terms, describe the concepts they denote, and provide Lithuanian equivalents, but these are not supplied. Some online glossaries are quite poorly compiled: they contain many foreignisms or English words or phrases that have not been adapted orthographically or morphologically. For example, an English term is given as a quotation without a Lithuanian equivalent, with only its Lithuanian definition provided (and written with errors), e.g.: “B u l b – this is a manual exposure mode in which the aperture rem-

Terminologija | 2017 | 24

183

ains open [sic!] as long [sic!] as the shutter button is held down³” FTŽ; “L a n d i n g p a g e⁴ – this is a section of a website to which an advertisement directs” SMTŽ; “B o u n c e r a t e⁵ is recorded when a user visits a website, does not browse it any further, and leaves the site” SMTŽ.

When a complex species term is denoted, the unadapted foreign word is sometimes the modifier, e.g.: “D i g i t a l advertising⁶ can have several different channels” SMTŽ; “The distinctiveness of V i r a l advertising⁷ is that no separate payment is made for its broadcast” SMTŽ; “R e s p o n s i v e design⁸ is a feature of websites that enables them to adapt to the screens of mobile devices” SMTŽ.

Another point is that even glossaries that are fairly well organized offer slang professionalisms (English-derived colloquialisms) to denote specific, narrowly used concepts, e.g.: banner⁹ “an advertising panel visible on web pages” SMTŽ, blockbuster¹⁰ “an impressive, big-budget film that attracts a large audience and is highly profitable” AMŽ, frag “a point scored in computer games for defeating an opponent” AMŽ, lipsync “the mouth movements of an animated character, usually corresponding to the sounds being spoken” AMŽ, slogan “an advertising slogan” SMTŽ. As can be seen, some foreign words have standardized equivalents listed in other publications, but there are also foreign words that have not yet been codified.

Such unregulated terms in online glossaries clearly reveal actual usage as well, where English and Lithuanian terms are used interchangeably in the same text, e.g.: “Creating a ‘B r a n d b o o k’; Together they create a unified identity, described in the s t y l e g u i d e (b r a n d b o o k)” (rebrand.lt); “Preparing a W i r e f r a m e; A website’s w e b p a g e l a-

³ The language of the online glossaries has not been edited.

⁴Landing page (Dagienė, Dagys et al. 2015).

⁵ Bounce rate.

⁶ Correct equivalent digital advertising.

⁷ Correct equivalent viral advertising, cf. viral marketing | viružinė rinkodara RTŽ 2007.

⁸Adaptive design (Dagienė et al. 2016).

⁹ An inadmissible foreignism, to be replaced by the equivalents advertising banner, banner ad, advertising image, advertising box; rolling advertising (Kalbos patarimai 2013:16).

¹⁰The Lithuanian Neologism Database (http://naujažodziai.lki.lt) notes that the neologism blockbuster has not yet been codified and has no exact Lithuanian equivalent.

184 Rasuolė Vladarskienė | Kūrybinių industrijų terminai: aprėptis ir tvarkyba

A wireframe (English wireframe) is a visual layout of a website’s content” (rebrand.lt). Sometimes no Lithuanian term is sought, and a phonetic transcription is considered sufficient, for example: “Such websites are designed so that, when browsing, people not only see a mini version of the website, but also a layout that perfectly matches the scrolling habits of a mobile device (English scrolling)” (rebrand.lt). Such usage confirms that missing Lithuanian terms for the creative industries are currently being coined, and that synonymy and variation are characteristic of the initial stage in the formation of any terminology. For now, the most suitable expressions for naming concepts are being sought.

CONCLUSIONS

The 21st century is the age of creativity; the creative economy is created by a creative society. The creative industries is a very broad concept encompassing business, communication, technology, culture, and art. This is a new concept and a new term, which emerged as the notion of creativity expanded: it now includes not only artistic and scientific activity, but also any activity that calls for creative solutions. Representatives of creative professions, drawing on inventiveness and creativity, seek to generate the greatest possible economic profit.

The field’s diversity also results in terminology that is not uniformly organized. Terms in the creative industries are varied; some, like terms in other fields, have already been standardized and established in dictionaries, terminology databases, and usage.

Suitable ways of naming some concepts are still being sought. In unedited texts and online glossaries alike, quotations (foreign words that have not been adapted orthographically or morphologically) and morphologically adapted foreign words are often used; an English term is often given alongside its Lithuanian equivalent in texts. This is characteristic of the initial stage in the formation of terminology.

ŠALTINIAI

AMŽ – Audiovizualinių medijų žodynas. Prieiga per internetą: http://www.lkc.lt/wp-content/uploads/2013/10/Audiovizualiniu-terminu-zodynas.pdf.

DLKŽ 2012: Dabartinės lietuvių kalbos žodynas. Vyr. red. S. Keinys. 7-as pataisytas ir papildytas leidimas, Vilnius: Lietuvių kalbos institutas. Prieiga per internetą: http://lkiis.lki.lt/dabartinis.

FTŽ – Fotografijos terminų žodynas. Prieiga per internetą: http://www.efoto.lt/terminai.

Rebrand.lt. Interneto svetainė. Prieiga per internetą: http://rebrand.lt/musu-paslaugos/firminio-stiliaus-kurimas.

RTŽ 2007: Reklamos terminų žodynas. Prieiga per internetą: http://www.komaa.lt/reklamos-terminu-zodynas.

SMTŽ – Skaitmeninio marketingo terminų žodynėlis. Prieiga per internetą: https://www.digitalstar.lt/reklamos-terminu-zodynas/.

Terminologija | 2017 | 24

185

LITERATŪRA

Barevičiūtė J. 2014: Pagrindiniai kūrybiškumo ir kūrybingumo aspektai šiuolaikiniuose humanitariniuose bei socialiniuose moksluose. – Filosofija. Sociologija 25(1), 19–28.

Barevičiūtė J. 2017: Kūrybinės industrijos, kūryba ir kūrybingumas: ar įmanomas jų susitikimas? [interviu su Laura Laurūšaite] Prieiga per internetą: http://www.bernardinai.lt/straipsnis/2017-08-17-kurybines-industrijos-kuryba-ir-kurybingumas-ar-imanomas-ju-susitikimas/162755.

Černevičiūtė J. et al. 2015: Černevičiūtė J., Strazdas R., Jančoras Ž., Kregždaitė R., Morkevičius V. Kūrybinių industrijų plėtojimo kompleksiniai veiksniai: kolektyvinio kūrybingumo ugdymas, Vilnius: Baltijos kopija.

Dagienė V. et al. 2016: Dagienė V., Jevsikova T., Grigas G. Aiškinamasis kompiuterijos terminų žodynas, Vilnius: VU.

Dagienė V., Dagys V. et al. 2015: Dagienė V., Dagys V., Jevsikova T., Grigas G. Anglų–lietuvių kalbų kompiuterijos žodynas, el. leidimas.

Daujotytė V. 2010: Kūrybingumas ir kūrybiškumo atpažinimas. – Mokslo Lietuva 3(425), 1–2.

Gritėnienė A. 2017: Kūrybos subjektas ir objektas žodynuose. – Zabarskaitė J. ir kt. Kūrybiškumo slinktys ir lūžiai. Kalbinė kurti analizė. Kolektyvinė monografija, Vilnius: Lietuvių kalbos institutas, 46–73.

Kačerauskas T. 2014: Kūrybos visuomenės terminai ir sampratos. – Logos 78, 6–18. Prieiga per internetą: litlogos.eu/L78/Logos_78_006_018_Kacerauskas.pdf (žiūrėta 2017 m. spalio mėn.).

Kalbos patarimai 2013: Kalbos patarimai 4. Leksika 1. Skolinių vartojimas, Vilnius: Mokslo ir enciklopedijų leidybos centras.

Kūrybinių industrijų skatinimo ir plėtros strategija, patvirtinta Lietuvos Respublikos kultūros ministro 2007 m. kovo 28 d. įsakymu Nr. ĮV-217. – Teisės aktų registras. Prieiga per internetą: www.lrs.lt (žiūrėta 2017 m. gegužės mėn.).

Stunžinas R. 2017: Šiuolaikinė kūrybos, kūrėjo ir kūrinio samprata. – Zabarskaitė J. ir kt. Kūrybiškumo slinktys ir lūžiai. Kalbinė kurti analizė. Kolektyvinė monografija, Vilnius: Lietuvių kalbos institutas, 87–110.

TERMS OF CREATIVE INDUSTRIES: SCOPE AND STANDARDIZING

The 21^st century is a century of creative work; a creative economy is being created by a creative society. ‘Creative industries’ is a very broad concept connecting business, communication, technologies, culture and art. This is a new concept and a new term, arising from the widened understanding of creative work which covers not only artistic and scientific activities but also any other activity requiring creative solutions. Representatives of creative industries are seeking economic profit on the basis of creativity.

The diversity of the field predetermines the lack of uniformity in its terminology. Terms of creative industries vary. Some terms are also used in other fields and are standardized, included in dictionaries and terminological databases and are rooted in usage. For some concepts appropriate forms of naming haven’t yet been found; frequently quotations (borrowings which aren’t adapted either orthographically or morphologically) and morphologically adapted borrowed words are used instead of terms in unedited texts and internet dictionaries; quite frequently the English equivalent is given in the text next to a Lithuanian term. All this is characteristic to the initial stage of terminology development.

Gauta 2017 11 21

Rasuolė Vladarskienė

Vilniaus Gedimino technikos universitetas

Saulėtekio al. 11, LT-03227 Vilnius

E. paštas [email protected]

186

Rasuolė Vladarskienė | Kūrybinių industrijų terminai: aprėptis ir tvarkyba