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1 creative
مُبْدِع \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. creator: a person who creates sth.. imaginative: showing active imagination: imaginative writing; an imaginative child. ingenious: clever (person, idea, device, etc.); skilful at finding new ways of doing things. -
2 creative
خَلاَّق \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. original: new and unusual; interestingly different: an original way of doing sth.; an original mind. -
3 خلاق
خَلاَّق \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. original: new and unusual; interestingly different: an original way of doing sth.; an original mind. -
4 مبدع
مُبْدِع \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. creator: a person who creates sth.. imaginative: showing active imagination: imaginative writing; an imaginative child. ingenious: clever (person, idea, device, etc.); skilful at finding new ways of doing things. -
5 creator
مُبْدِع \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. creator: a person who creates sth.. imaginative: showing active imagination: imaginative writing; an imaginative child. ingenious: clever (person, idea, device, etc.); skilful at finding new ways of doing things. -
6 imaginative
مُبْدِع \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. creator: a person who creates sth.. imaginative: showing active imagination: imaginative writing; an imaginative child. ingenious: clever (person, idea, device, etc.); skilful at finding new ways of doing things. -
7 ingenious
مُبْدِع \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. creator: a person who creates sth.. imaginative: showing active imagination: imaginative writing; an imaginative child. ingenious: clever (person, idea, device, etc.); skilful at finding new ways of doing things. -
8 original
خَلاَّق \ creative: making sth. new; not copying, but using the imagination: the creative work of artists. original: new and unusual; interestingly different: an original way of doing sth.; an original mind. -
9 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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10 В-172
ПРИНИМАТЬ/ПРИНЯТЬ ВО ВНИМАНИЕ что VP subj: human or collect often infin with надо, нужно, должен often foil. by a что-clause) to include sth. in one's deliberations or calculationsX должен принять во внимание Y - X must take Y into accountX must take account of Y X must take X must consider Y X must bear (keep) Y in mind (in limited contexts) X must allow for Yii принимая во внимание, что... - in view of the fact that......Субъективно он честный человек, не вор, не жулик, не чужак, и суд должен принять это во внимание (Рыбаков 1). Subjectively...he was an honest man, he was not a thief, or a swindler, or an intruder, and the court should take this into account (1a).Уклонист заметил, что творчество во внимание принимать вообще не нужно, ибо дело идет к тому, что в деятельности писателей, художников и прочих представителей творческих профессий... творческий элемент катастрофически сокращается... (Зиновьев 1). Deviationist said there was no need to bring creative work into consideration since, the way things were going, the creative element in the work of writers, artists and other representatives of the creative professions...was diminishing catastrophically... (1a).Я тебе поясню на примере нашего учреждения, сказал Болтун. Оно типично для целой категории учреждений, активно участвующих в определении характера власти. А только их и надо в данном случае принимать во внимание (Зиновьев 1). "Well, I'll explain it to you," said Chatterer"take the example of the institute where I work. It's typical of the whole range of institutes which take an active part in determining the nature of power. And those are the only ones which should be considered here" (1a).«...Нужно принять во внимание, что вот тут-то и есть мораль, тут-то и заключена мораль...» (Гоголь 3). "...We must allow for the fact that it is precisely here that the moral of the story lies..." (3e).(Вы) поступили неправильно... поставили сержанта Токареву в ложное положение, но, принимая во внимание, что вы боевой офицер, я это дело прекращаю...» (Рыбаков 1). "...You acted improperly....You placed Sergeant To-kareva in a false position, but in view of the fact that you're a combat officer, I'm closing the case" (1a). -
11 принимать во внимание
• ПРИНИМАТЬ/ПРИНЯТЬ ВО ВНИМАНИЕ что[VP; subj: human or collect; often infin with надо, нужно, должен; often foll. by a что-clause]=====⇒ to include sth. in one's deliberations or calculations:- X must take < bring> Y into consideration;- X must bear < keep> Y in mind;- [in limited contexts] X must allow for Y;|| принимая во внимание, что... ≈ in view of the fact that...♦...Субъективно он честный человек, не вор, не жулик, не чужак, и суд должен принять это во внимание (Рыбаков 1). subjectively...he was an honest man, he was not a thief, or a swindler, or an intruder, and the court should take this into account (1a).♦ Уклонист заметил, что творчество во внимание принимать вообще не нужно, ибо дело идет к тому, что в деятельности писателей, художников и прочих представителей творческих профессий... творческий элемент катастрофически сокращается... (Зиновьев 1). Deviationist said there was no need to bring creative work into consideration since, the way things were going, the creative element in the work of writers, artists and other representatives of the creative professions...was diminishing catastrophically... (1a).♦ Я тебе поясню на примере нашего учреждения, сказал Болтун. Оно типично для целой категории учреждений, активно участвующих в определении характера власти. А только их и надо в данном случае принимать во внимание (Зиновьев 1). "Well, I'll explain it to you," said Chatterer; "take the example of the institute where I work. It's typical of the whole range of institutes which take an active part in determining the nature of power. And those are the only ones which should be considered here" (1a).♦ "...Нужно принять во внимание, что вот тут-то и есть мораль, тут-то и заключена мораль..." (Гоголь 3). "...We must allow for the fact that it is precisely here that the moral of the story lies..." (3e).♦ "[ Вы] поступили неправильно... поставили сержанта Токареву в ложное положение, но, принимая во внимание, что вы боевой офицер, я это дело прекращаю..." (Рыбаков 1). "...You acted improperly....You placed Sergeant Tokareva in a false position, but in view of the fact that you're a combat officer, I'm closing the case" (1a).Большой русско-английский фразеологический словарь > принимать во внимание
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12 принять во внимание
• ПРИНИМАТЬ/ПРИНЯТЬ ВО ВНИМАНИЕ что[VP; subj: human or collect; often infin with надо, нужно, должен; often foll. by a что-clause]=====⇒ to include sth. in one's deliberations or calculations:- X must take < bring> Y into consideration;- X must bear < keep> Y in mind;- [in limited contexts] X must allow for Y;|| принимая во внимание, что... ≈ in view of the fact that...♦...Субъективно он честный человек, не вор, не жулик, не чужак, и суд должен принять это во внимание (Рыбаков 1). subjectively...he was an honest man, he was not a thief, or a swindler, or an intruder, and the court should take this into account (1a).♦ Уклонист заметил, что творчество во внимание принимать вообще не нужно, ибо дело идет к тому, что в деятельности писателей, художников и прочих представителей творческих профессий... творческий элемент катастрофически сокращается... (Зиновьев 1). Deviationist said there was no need to bring creative work into consideration since, the way things were going, the creative element in the work of writers, artists and other representatives of the creative professions...was diminishing catastrophically... (1a).♦ Я тебе поясню на примере нашего учреждения, сказал Болтун. Оно типично для целой категории учреждений, активно участвующих в определении характера власти. А только их и надо в данном случае принимать во внимание (Зиновьев 1). "Well, I'll explain it to you," said Chatterer; "take the example of the institute where I work. It's typical of the whole range of institutes which take an active part in determining the nature of power. And those are the only ones which should be considered here" (1a).♦ "...Нужно принять во внимание, что вот тут-то и есть мораль, тут-то и заключена мораль..." (Гоголь 3). "...We must allow for the fact that it is precisely here that the moral of the story lies..." (3e).♦ "[ Вы] поступили неправильно... поставили сержанта Токареву в ложное положение, но, принимая во внимание, что вы боевой офицер, я это дело прекращаю..." (Рыбаков 1). "...You acted improperly....You placed Sergeant Tokareva in a false position, but in view of the fact that you're a combat officer, I'm closing the case" (1a).Большой русско-английский фразеологический словарь > принять во внимание
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13 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
14 Gropius, Walter Adolf
SUBJECT AREA: Architecture and building[br]b. 18 May 1883 Berlin, Germanyd. 5 July 1969 Boston, USA[br]German co-founder of the modern movement of architecture.[br]A year after he began practice as an architect, Gropius was responsible for the pace-setting Fagus shoe-last factory at Alfeld-an-der-Leine in Germany, one of the few of his buildings to survive the Second World War. Today the building does not appear unusual, but in 1911 it was a revolutionary prototype, heralding the glass curtain walled method of non-load-bearing cladding that later became ubiquitous. Made from glass, steel and reinforced concrete, this factory initiated a new concept, that of the International school of modern architecture.In 1919 Gropius was appointed to head the new School of Art and Design at Weimar, the Staatliches Bauhaus. The school had been formed by an amalgamation of the Grand Ducal schools of fine and applied arts founded in 1906. Here Gropius put into practice his strongly held views and he was so successful that this small college, which trained only a few hundred students in the limited years of its existence, became world famous, attracting artists, architects and students of quality from all over Europe.Gropius's idea was to set up an institution where students of all the arts and crafts could work together and learn from one another. He abhorred the artificial barriers that had come to exist between artists and craftsmen and saw them all as interdependent. He felt that manual dexterity was as essential as creative design. Every Bauhaus student, whatever the individual's field of work or talent, took the same original workshop training. When qualified they were able to understand and supervise all the aesthetic and constructional processes that made up the scope of their work.In 1924, because of political changes, the Weimar Bauhaus was closed, but Gropius was invited to go to Dessau to re-establish it in a new purpose-built school which he designed. This group of buildings became a prototype that designers of the new architectural form emulated. Gropius left the Bauhaus in 1928, only a few years before it was finally closed due to the growth of National Socialism. He moved to England in 1934, but because of a lack of architectural opportunities and encouragement he continued on his way to the USA, where he headed the Department of Architecture at Harvard University's Graduate School of Design from 1937 to 1952. After his retirement from there Gropius formed the Architect's Collaborative and, working with other architects such as Marcel Breuer and Pietro Belluschi, designed a number of buildings (for example, the US Embassy in Athens (1960) and the Pan Am Building in New York (1963)).[br]Bibliography1984, Scope of Total Architecture, Allen \& Unwin.Further ReadingN.Pevsner, 1936, Pioneers of the Modern Movement: From William Morris to Walter Gropius, Penguin.C.Jenck, 1973, Modern Movements in Architecture, Penguin.H.Probst and C.Shädlich, 1988, Walter Gropius, Berlin: Ernst \& Son.DY -
15 Negreiros, José Sobral de Almada
(1893-1970)Portuguese artist and writer. Born on the island of São Tomé, West Africa, a Portuguese colonial possession until 1975, Almada Ne-greiros began his artistic career as a humorist and cartoonist during the First Republic (1910-26). Linked with other writers, such as the celebrated Fernando Pessoa in the Orpheu review group, he became a leader of the avant garde artists-intellectuals who became cultural rebels through their art (especially painting and sculpture) and their writings. From the beginning, he became a leader in Portugal's modernist and futurist movements, and his sense of Portuguese identity and artistic taste was shaped in part by two important journeys to Madrid and Paris before 1930.Almada Negreiros was a versatile artist who expressed himself through a variety of creative works: drawings and paintings, novels, lectures, and pamphlets. In Portuguese art history, nevertheless, he became immortalized through his paintings of frescos and murals, such as the pictures found in A Brasileira, a legendary cafe in Lisbon's Chiado area; his paintings at the Exposition of the Portuguese World (1940); his murals at maritime stations at Alcântara (Lisbon) and Rocha do Conde De Óbidos, as well as in other public buildings; and a prominent panel in the atrium of the Gulbenkian Foundation headquarters, Lisbon, completed in 1969, the year before his death. In addition to other forms, he experimented with geometric abstractionism.Politically at odds with the Estado Novo toward the end of his life, Almada Negreiros remained ambivalent when his work was showered with official honors.Historical dictionary of Portugal > Negreiros, José Sobral de Almada
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Creative entrepreneurship — is the practice of setting up a business – or setting yourself up as self employed in one of the creative industries. The focus of the creative entrepreneur differs from that of the typical business entrepreneur or, indeed, the social… … Wikipedia
Creative Circle — The Creative Circle (also known as The Advertising Creative Circle and The Advertising Creative Circle of Great Britain) is an educational awards body dedicated to creativity in British advertising, and the oldest advertising and marketing awards … Wikipedia
