Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Elementary students, creativity, and technology

This article reports on the impact on student personal creativity of a longitudinal study that had as its major goal the creation of a unique intervention program for elementary students. The intervention was based on the National Profile and Statement (Curriculum Corporation, 1994a, 1994b) for the curriculum area of technology. The intervention program comprised thematically based units of work that integrated all eight Australian Key Learning Areas (KLA). A pretest/posttest control group design investigation (Campbell & Stanley, 1963) was undertaken with 580 students from 7 schools and 24 class groups that were randomly divided into 3 treatment groups. One group (10 classes) formed the control group. Another 7 classes received the year-long intervention program, while the remaining 7 classes received the intervention, but with the added seamless integration of their available classroom computer technologies. The effect of the intervention on the personal creativity characteristics of the students involved in the study was assessed using the Creativity Checklist, an instrument that was developed during the study. The results suggest that the purposeful integration of computer technology with the intervention program positively affects the personal creativity characteristics of students.

The knowledge advantage (K-Adv): unleashing creativity and innovation

The K-Adv has been developed around the concept that it comprises an ICT enabling infrastructure that encompasses ICT hardware and software infrastructure facilities together with an enabling ICT support system; a leadership infrastructure support system that provides the vision for its implementation and the realisation capacity for the vision to be realised; and the necessary people infrastructure that includes the people capabilities and capacities supported by organisational processes that facilitates this resource to be mobilised.

Long term sustainability in exporting creativity

This project aims to assess the extent of economic sustainability of working in international markets by Australian construction design-related firms. This investigation also identified barriers and success factors firms experience, which ultimately increases or reduces their exposure to financial risk. This study explored new research territory by developing a detailed understanding of the way three successful firms have maintained their longevity in various international markets. The firms are not considered to be large firms by international standards. The manner in which the firms achieve long term sustainability, deal with problems and barriers in international markets and develop successful strategies rely upon being adaptable to different markets and changes within markets. A model was developed based upon a critical analysis of the literature. An adaptive performance framework for sustainability was developed which had three key areas; internationalisation process, market knowledge and design management. The sustainable business model is underpinned by the management of non-economic factors, which include social, cultural and intellectual capital. The ultimate aim of any firm and the ultimate indicator of success is financial capital. Firms typically develop their own highly sophisticated financial measures themselves however have only an implicit understanding of other softer and less tangible factors that impact upon sustainability. Adaptive performance is the firm’s continual adaptivity of business practices to respond to and thereby achieve client satisfaction by a combination of self, market and project needs assessment.

Characterising creativity : a holistic methodology for the assessment of creative works

This paper reports on the early stages of a design experiment in educational assessment that challenges the dichotomous legacy evident in many assessment activities. Combining social networking technologies with the sociology of education the paper proposes that assessment activities are best understood as a negotiable field of exchange. In this design experiment students, peers and experts engage in explicit, "front-end" assessment (Wyatt-Smith, 2008) to translate holistic judgments into institutional, and potentiality economic capital without adhering to long lists of pre-set criteria. This approach invites participants to use social networking technologies to judge creative works using scatter graphs, keywords and tag clouds. In doing so assessors will refine their evaluative expertise and negotiate the characteristics of creative works from which criteria will emerge (Sadler, 2008). The real-time advantages of web-based technologies will aggregate, externalise and democratise this transparent method of assessment for most, if not all, creative works that can be represented in a digital format.

Creativity, design and entrepreneurship : management education and development for innovation

Creativity, design and entrepreneurship, have been recognized as important contributors to a firm’s innovation and to the nation’s economic growth. Creativity and design play important roles in the fuzzy front end of a firm’s innovation process and also in corporate venturing processes, but the relationship between creativity, design and entrepreneurship to a large extent has not explicitly been examined. This exploratory conceptual paper briefly reviews the separate bodies of research on creativity, design and entrepreneurship, identifying similarities and differences in constructs and applications and identifying implications for business and for management education.

What are the lessons for entrepreneurship from creativity and design?

Entrepreneurship and innovation make significant contributions to the success of firms and both notions are often linked directly or indirectly to notions of creativity and more recently design (Drucker, 1985; Kelley, 2001; Nystrom, 1993). This theoretical paper investigates the processes involved in entrepreneurship, creativity and design and identifies key processes relevant to entrepreneurial practice.

Measuring cognitive and dispositional characteristics of creativity in elementary students

This article describes the theoretical underpinning and development of a measurement instrument that provides teachers with a tool to observe the personal creativity characteristics of individual students. The instrument was developed by compiling a list of characteristics derived from the literature to be indicative of the personal characteristics of creative people. The list was then reduced by grouping like characteristics to 9 cognitive and dispositional traits that were considered appropriate for elementary students. The 9-item instrument was then administered in 24 classrooms to 520 Year 6 and Year 7 students. Factor analysis using maximum likelihood extraction with an oblimin rotation revealed a single factor with an eigenvalue greater than 1 and accounting for 63% of the variance. All 9 items on this factor loaded at .72 or greater. The results indicated that the Creativity Checklist has very high internal consistency and is a reliable measurement instrument (a = .93).

Remediating vernacular creativity : photography and cultural citizenship in the Flickr photosharing network

Read through a focus on the remediation of personal photography in the Flickr photosharing website, in this essay I treat vernacular creativity as a field of cultural practice; one that that does not operate inside the institutions or cultural value systems of high culture or the commercial popular media, and yet draws on and is periodically appropriated by these other systems in dynamic and productive ways. Because of its porosity to commercial culture and art practice, this conceptual model of ‘vernacular creativity’ implies a historicised account of ‘ordinary’ or everyday creative practice that accounts for both continuity and change and avoids creating a nostalgic desire for the recuperation of an authentic folk culture. Moving beyond individual creative practice, the essay concludes by considering the unintended consequences of vernacular creativity practiced in online social networks: in particular, the idea of cultural citizenship.

Promoting creativity in education : from policy to practice : an Australian perspective

In the 21st century, our global community is changing to increasingly value creativity and innovation as driving forces in our lives. This paper will investigate how educators need to move beyond the rhetoric to effective practices for teaching and fostering creativity. First, it will describe the nature of creativity at different levels, with a focus on personal and everyday creativity. It will then provide a brief snapshot of creativity in education through the lens of new policies and initiatives in Queensland, Australia. Next it will review two significant areas related to enriching and enhancing students’ creative engagement and production: 1) influential social and environmental factors; and 2) creative self-efficacy. Finally, this paper will propose that to effectively promote student creativity in schools, we need to not only emphasise policy, but also focus on establishing a shared discourse about the nature of creativity, and researching and implementing effective practices for supporting and fostering creativity. This paper has implications for educational policy, practice and teacher training that are applicable internationally.