Educational inclusiveness through Ludic engagement and digital creativity

This paper describes an approach to teaching and learning that combines elements of ludic engagement, gamification and digital creativity in order to make the learning of a serious subject a fun, interactive and inclusive experience for students regardless of their gender, age, culture, experience or any disabilities that they may have. This approach has been successfully used to teach software engineering to first year students but could in principle be transferred to any subject or discipline.

The missing pillar: the creativity theory of knowledge spillover entrepreneurship

Knowledge spillover theory of entrepreneurship and the prevailing theory of economic growth treat opportunities as endogenous and generally focus on opportunity recognition by entrepreneurs. New knowledge created endogenously results in knowledge spillovers enabling inventors and entrepreneurs to commercialize it. This article discusses that knowledge spillover entrepreneurship depends not only on ordinary human capital, but more importantly also on creativity embodied in creative individuals and diverse urban environments that attract creative classes. This might result in self-selection of creative individuals into entrepreneurship or enable entrepreneurs to recognize creativity and commercialize it. This creativity theory of knowledge spillover entrepreneurship is tested utilizing data on European cities.

Creativity, entrepreneurship and economic development: city-level evidence on creativity spillover of entrepreneurship

We examine the black box of creativity, entrepreneurship and economic development by asking about the mechanisms through which creativity can influence economic development in cities. We propose that, like the knowledge spillover theory of entrepreneurship, creativity spillovers occur and can be slowed by a creativity filter. We examine how creativity and entrepreneurship, and creativity and a melting pot environment, interact to influence urban economic development. Using data on 187 cities in 15 European countries for the period 1999–2009, we advance the extant literature by providing evidence on the existence and dynamics of a creativity filter.

Discourse and creativity

Discourse and Creativity examines the way different approaches to discourse analysis conceptualize the notion of creativity and address it analytically. It includes examples of studies of creativity from a variety of traditions and examines the following key areas, how people interpret and use discourse, the processes and practices of discourse production, discourse in modes other than written and spoken language, and the relationship between discourse and the technologies used to produce it.

Creativity and discourse

This paper will consider the relationship between discourse analysis and creativity and elucidate the ways in which a discourse analytical approach to creativity might be distinguished from the ‘language and creativity’ approaches which currently dominate applied linguistics and sociolinguistics. In the ‘discourse and creativity’ approach I will be describing, creativity is located not in language per se, but in the strategic ways people use language in concrete situations in order to stimulate social change. I will explore how aspects of this approach are reflected in work carried out within the paradigm of world Englishes.

Geography, skills and careers patterns at the boundary of creativity & innovation: digital technology and creative arts graduates in the UK

In the last decades, research on knowledge economies has taken central stage. Within this broader research field, research on the role of digital technologies and the creative industries has become increasingly important for researchers, academics and policy makers with particular focus on their development, supply-chains and models of production. Furthermore, many have recognised that, despite the important role played by digital technologies and innovation in the development of the creative industries, these dynamics are hard to capture and quantify. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. They also seem to play a key role in innovation of access and delivery of creative content. This chapter tries to assess the role played by digital technologies focusing on a key element of their implementation and application: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we explore the characteristics and location patterns of graduates who entered the creative industries, specifically comparing graduates in the creative arts and graduates from digital technology subjects. We highlight patterns of geographical specialisation but also how different context are able to better integrate creativity and innovation in their workforce. The chapter deals specifically with understanding whether these skills are uniformly embedded across the creative sector or are concentrated in specific sub-sectors of the creative industries. Furthermore, it explores the role that these graduates play in different sub-sector of the creative economy, their economic rewards and their geographical determinants.

Videography as production nexus : digital film cameras, media mangement and the distribution of creativity

This thesis is about new digital moving image recording technologies and how they augment the distribution of creativity and the flexibility in moving image production systems, but also impose constraints on how images flow through the production system. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creative work, capacity of digital tools, user skills and the constitution of digital moving image material. The empirical evidence of this thesis is primarily based on semi-structured interviews conducted with Swedish film and TV production representatives.This thesis highlights the importance of pre-production technical planning and proposes a design management support tool (MI-FLOW) as a way to leverage functional workflows that is a prerequisite for efficient and cost effective moving image production.

Promoting and supporting requirements engineering creativity

Requirements Engineering (RE) is a commencing phase in the systems development life cycle and concerned with understanding and specifying the customer's requirements. RE has been recognized as a complex cognitive problem solving process which takes place in an unstructured and poorly understood problem .context. A recent understanding describes the RE process as inherently creative, involving cycles of incremental building followed by insight-driven econceptualization .of the problem space. This chapter relates this new understanding to various creative process models described in the creativity and psychology of problem solving literature.

A review of current attempts to support problem solving in RE using
various design rationale approaches suggests., that their common major
wealmess lies in the lack of support for the creative and insight-driven problem solving process in RE. In addressing this weakness, the chapter suggests a new approach to promoting and supporting RE creativity using design rationale. The suggested approach involves the ad hoc recording of rationale to support the creative exploration complemented by a post hoc conceptual characterization of the problem space to support insight driven reconceptualization.