Curriculum for entrepreneurial creativity and resourcefulness in New Zealand

This thesis asks: ‘How can tertiary education nurture entrepreneurial creativity?’ Entrepreneurship is considered to be a vital determinant of economic growth and the entrepreneur is understood as someone who innovates and commercialises their own innovation. The setting is New Zealand which is struggling to make the shift from relying on primary production to becoming a ‘creative economy.’ The creative individual has been identified as a new mainstream but it is argued that in New Zealand, education provision is inadequate for supporting the development of the practice of entrepreneurship. The problem is not unique. Various writers are critical of business education generally, and of the mismatch between the passion and chaos in entrepreneurs’ lives and the way education programs are typically organised as a linear sequence of discipline-based courses with prescribed content, activities and outcomes. Rich data were gathered from in-depth interviews with twelve nascent, new or experienced entrepreneurs and two associates (one a marketer, the other a scientist). Each participant was drawn from a different area of economic endeavour. They were asked to share their stories and views about creativity, the connections between creativity and entrepreneurship, business success, formal and informal education, and ways to improve tertiary education programs. The research found that a suitable environment for nurturing creativity will most likely have structure but will also enable chaos. It will present opportunities for experiencing diversity, and will stimulate unconscious and conscious mental processes. It will provide scope for hard work that is fun and involves authentic risk-taking, and will enable both individual and purposeful teamwork. The study also found that business success is not based on knowledge but is rather about being resourceful. The becoming of the creative entrepreneur thus includes developing capability to network with peers and mentors and communicate with customers and staff, and developing passion for and resilience in the pursuit of a dream. The findings suggest that in an age of uncertainty, nurturing entrepreneurial creativity and resourcefulness requires learning to be viewed as a practice-based community process where knowing and doing are interwoven with being. It is argued that this needs to align with Ronald Barnett and Kelly Coate’s (2005) notion of ‘a curriculum for engagement.’ It is suggested that an entire program might simply invite students to work collaboratively to identify and exploit an entrepreneurial opportunity by producing and commercialising an appropriate product/service innovation; to undertake this work as two separate projects – one within an existing organisation, and the other as a new venture; and to theorise their work. It is proposed that a suitable framework lies in William Doll’s (2002) advocacy for a curriculum based on a matrix of five Cs: ‘currere,’ complexity, cosmology, conversation, and community. To these, creativity is added as a sixth C.

Valuing creativity in the higher education sector : what price the creative knowledge economy?

Contemporary economic and social contexts including the creative knowledge economy provide competing perspectives on ‘the future’ of higher education and the role of the academic within these contexts. Increasingly educators and educationa leaders are expected to act in ‘futures’ oriented ways whilst remaining true to the professional standards of their present environments. Working in the creative industries or as part of the creative knowledge economy increasingly contributes to Australia’s strategic directions for the future but also has an influence on what is valued in the higher education sector.
This paper explores the impact of the creative knowledge economy on the higher education sector and its response to the changing educational landscapes. An exploration is undertaken of the shift towards creative industries where the value of creativity and the arts is linked to economic value. It is argued that this shift requires researchers to alter their identities from that of having ‘academic’ value to engaging with the commodification of knowledge. The paper concludes with a suggested way forward for both the creative industries and the higher education sector using Giri’s (2002) model for transdisciplinarity.

Understanding social creativity amongst event professionals : an action research approach

Live events represent a significant and growing sector of the creative industries but the creative process underlying this sector is little researched in the event management context. Despite the increased consumption of virtual and online media, the live event remains a popular channel of expression for a wide range of creative art forms and commercial messages. Live events use such messages as 'props' or 'stages' to produce memorable and emotionally positive moments for audiences. The creative process behind developing a live event is in itself a live event, involving groups of event professionals working in a social context to conceptualise ideas for their audiences. This research fills the gap for event professionals in the creative industries by seeking to understand the creative process intrinsic to live events. This paper suggests that social creativity is used to develop live event concepts. The phenomenon of social creativity identified from the existing literature is explored in the context of its application to event professionals. An Action Research approach is recommended to better understand the key antecedents of social creativity and how they can influence event concept development.

Creative tensions? Creativity and basic skills in recent educational policy.

Recently, in response to sustained criticism about the standards driven curriculum, UK government agencies have been promoting creativity in schools. In this article we explore how creativity is being defined in current national educational policy statements; how these definitions relate to other theoretical work on creativity, and the implications for the curriculum and pedagogies.

The role of creativity in entrepreneurship

This paper evaluates the contribution of creativity to entrepreneurship theory and practice in terms of building an holistic and transdisciplinary understanding of its impact. Acknowledgement is made of the subjectivist theory of entrepreneurship which embraces randomness, uncertainty and ambiguity but these factors should then be embedded in wider business and social contexts. The analysis is synthesised into a number of themes, from consideration of its definition, its link with personality and cognitive style, creativity as a process and the use of biography in uncovering data on creative entrepreneurial behaviour. Other relevant areas of discussion include creativity's link with motivation, actualisation and innovation, as well as the interrogation of entrepreneurial artists as owner/managers. These factors are embedded in a critical evaluation of how creativity contributes to successful entrepreneurship practice. Modelling, measuring and testing entrepreneurial creativity are also considered and the paper includes detailed consideration of several models of creativity in entrepreneurship. Recommendations for future theory and practice are also made.

The role of NCCP time for enhancing children's creativity in technology

The focus of our research project was the question Can children‘s creativity be enhanced by including a period of non-conscious cognitive process (NCCP) time? During this non-thinking time the brain makes connections between independent ideas, forgets inappropriate responses, and makes available more relevant responses for problem solving. The research generated cases of several primary school classrooms as the teachers incorporated NCCP time in their design technology sessions. Children were observed and teachers interviewed about their perceptions of children‘s creativity as the children designed and produced recycling devices. The cases revealed an optimum time frame of several days for nonconscious cognitive processing. These findings have implications for teachers of technology who assign the same day and time each week for technology learning. During the non-task time, which included the NCCP time, children were able to discuss their ideas with family members. As children learn in socio-cultural contexts, these discussions can be fruitful. The teachers indicated that peer discussions also played an important role after the generation of designs.

Enhancing creativity through design technology : opportunities for developing children's creative thinking

Creative problem solving is essential to technology education. In our research project we explored the suggestion that creativity may need to include a time of ‘non-thinking’ during which innovative responses to problem tasks are generated. The period of non-conscious cognitive process (NCCP) time is considered to be when the brain makes connections between independent ideas and when inappropriate responses can be forgotten, allowing more relevant responses to be made available for problem solving. Our research provided an opportunity for several primary school teachers to focus on enhancing creativity in technology education and to explore the notion of the NCCP time for creative problem solving. In this chapter we review the current literature on enhancing creativity and comment on how the teachers fostered creativity as they implemented a design, make and appraise technological task to produce recycling devices in their classrooms. Classes and children were observed and teachers interviewed about their perception of children’s creativity and the NCCP time. In this study, a time frame of only several days appears to be ideal for non-conscious cognitive processing to occur and more time may hinder creativity. These findings have implications for teachers of technology who assign the same day and time each week for technology learning.
During the non-task time, which included the NCCP time, children were able to discuss their ideas with family members. As children learn in social and cultural contexts, these discussions can be fruitful. The teachers indicated that peer discussions also played an important role after the generation of designs.

Beyond Simon’s means-ends analysis : natural creativity and the unanswered ‘why’ in the design of intelligent systems for problem-solving

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood or categorically defined. We propose a rational framework built on a set of logically interconnected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications.

Critique and creativity : the pedagogical nexus between literary studies and creative writing

This paper will explore the nexus between literary studies and creative writing on the basis of Stanley Aronowitz’s and Henry Giroux’s work on the democratic potential embedded in a critical literacy education, which provides ‘a language of critique’ and ‘a language of possibility’ (1993: 46). This paper argues that literary studies and
creative writing, as cognate disciplines focused precisely on languages of critique and possibility, are uniquely positioned to cooperatively enact this pedagogical agenda.

Blank page : the location of creativity

Whether one writes in the field of literary studies or that of creative writing, one begins with the 'blank page'. The field of interest I am calling the 'blank page' has implications for the discipline of creative writing, and can be useful to theorising creativity, writing practice, and pedagogy. One creates out of, or into, the 'blank page '; one's practice is partly determined by how one theorises, however subconsciously, this blank page (how does one start? how blank is the page? how have others figured the blank page); and one teaches students who have to face literal blank pages. ln this paper I will consider how the theorisation of the blank page in literary studies addresses such creative-writing issues. I will then engage D.W. Winnicott's psychoanalytic theory on 'the location of play' to consider the implications of conceptualising the blank page as 'the location of writing'. A Winnicottian approach to the blank page, as a space akin to the potential space of play, allows various insights into the process of writing, especially as a proccss involving paradox.

Emergence of creativity in learning via social technologies

Creativity is an elusive skill desired by many. Debates on 'What is Creativity' and how it can best be nurtured and supported had resurgence in the 1950's after Guildford's address to the American Psychology Association about the positive benefits of creativity. Since then creativity has been investigated in many forms and within many disciplines. Of note is that creativity is apparent within four components: the person, the process, the product and the environment. On some level creativity is assessed within one of the four components of creativity: person, process, product or environment. In this study creativity and the environment is under investigation, with a number of factors presented that allow creativity to be supported. This paper explores the role of creativity within the education of tertiary students studying Games Design and Development (within an IT discipline) from an Australian University. Particularly this paper focuses on how social factors, such as purpose built collaborative environments and virtual communities, aid in the creative pursuits of the students.