Talk2Me : engaging interactive installation environments

In this research I explore what elements there may be in common between tangible interactive-technology works that successfully engage their participants. An exploration of existing methods for obtaining useful evaluations for non-use and ambiguous environments forms a part of the discussion.

Collaborative practices that support creativity in design

Design is a ubiquitous, collaborative and highly material activity. Because of the embodied nature of the design profession, designers apply certain collaborative practices to enhance creativity in their everyday work. Within the domain of industrial design, we studied two educational design departments over a period of eight months. Using examples from our fieldwork, we develop our results around three broad themes related to collaborative practices that support the creativity of design professionals: 1) externalization, 2) use of physical space, and; 3) use of bodies. We believe that these themes of collaborative practices could provide new insights into designing technologies for supporting a varied set of design activities. We describe two conceptual collaborative systems derived from the results of our study.

Experiential role of artefacts in cooperative design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an 'experiential' role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the materiality, use and manifestations of these artefacts bring quality and richness to people's performance and help them make better sense of their everyday lives. In a domain such as industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by design-related artefacts such as sketches, drawings, physical models and explorative prototypes -- used and developed in designers' everyday work. Our main intention in carrying out this kind of research is to develop technologies to support designers' everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on the personal, social and creative side of people's everyday experiences. By focusing on the experiential practices of designers, we can provide a much broader view in the design of new interactive technologies.

The creativity imperative : implications for education research

Arguing for the importance of understanding the conditions under which certain forms of the social subject become visible and viable, this chapter conceptualises the current educational focus on ‘creativity’ as a technology of governmentality that has arisen from the perceived need for governing authorities to manage and responsibilise populations for the pervasive uncertainties of the global economy. With reference to the document, Tough Choices or Tough Times, a publication of the National Center on Education and the Economy in the United States, we show how creativity has been reframed as a programmable capacity of the modern student, citizen and worker primarily because it is considered an indispensible source of enterprise and innovation. Education and family life are an integral part of this bio-politics and the ongoing ‘economisation’ of social life. Our concern is that this reductionist understanding of creativity precludes other transgressive and culturally enriching creativities that represent the infinite range of subjectivities associated with imaginative human capacity and activity. It is vital therefore that educational research renders this historical process transparent and opens spaces for more socially inclusive, sustainable and productive ways of being such as those indicated by the three respondees.

Co-thought gestures : supporting students to successfully navigate map tasks

This study considers the role and nature of co-thought gestures when students process map-based mathematics tasks. These gestures are typically spontaneously produced silent gestures which do not accompany speech and are represented by small movements of the hands or arms often directed toward an artefact. The study analysed 43 students (aged 10–12 years) over a 3-year period as they solved map tasks that required spatial reasoning. The map tasks were representative of those typically found in mathematics classrooms for this age group and required route finding and coordinate knowledge. The results indicated that co-thought gestures were used to navigate the problem space and monitor movements within the spatial challenges of the respective map tasks. Gesturing was most influential when students encountered unfamiliar tasks or when they found the tasks spatially demanding. From a teaching and learning perspective, explicit co-thought gesturing highlights cognitive challenges students are experiencing since students tended to not use gesturing in tasks where the spatial demands were low.

Reimagining Creativity : Critically, Ethically, and Practically

True creativity sits in stark contrast with global trends to standardise education systems. It is, though, an attractive semantic and conjures up all sorts of positives. However none of the positive potentials of the creativity push are likely to materialise while process-oriented bureaucratic understandings of creativity dominate curriculum policy and development. Creativity requires pedagogy to forego substantial levels of control. It also requires ethical content because “creative” is an empty epithet, applying equally to the creation of beautiful music as it does to the creation of a nuclear weapon. In responding to Kapitzke and Hay, this chapter outlines the stark contradictions embedded in the creativity push.

Supramolecular selection in molecular and framework co-crystals

An ongoing challenge in chemistry and crystal engineering is the synthesis of functional materials with predictable structures and customisable properties. This may be achieved by crystallising mixtures of different compounds. Co-crystals formed through this method have predictable structures and their properties may be tuned by varying the ratio of the compounds in the crystallising solution. This thesis examines single crystals formed by the co-crystallisation of metal complexes that have similar structures but different physical or chemical properties. A variety of new compounds with interesting properties were prepared, characterised and their significance in the context of crystal engineering was explored.

Queensland teachers' conceptions of creativity : a phenomenographic investigation

This study investigated conceptions of creativity in a group of Queensland teachers. The analysis of interview data produced precise descriptions of seven categories of meanings of creativity, delimiting the range and variance of meanings expressed. The study provides evidence of two distinct ways of experiencing and defining creativity. As a result the researcher was able to propose further research directions to extend educational understanding of creativity and recommended using the present study findings to strengthen policy and training measures for the Australian Curriculum focus on building creative capital.

Postcards from somewhere : ‘marginal’ cultural production, creativity and community

This paper focuses on a case study of local postcard production in a rural community in Western Australia. Drawing on in-depth interviews with key producers of these postcards, the analysis presented explores perceptions of and contexts for the emergence of this production, in turn examining the notion of ‘creativity’ articulated and privileged by this cultural work. Connections are identified between the making of postcards, the broader historical field of local cultural work and the construction of community. This, in turn, forms the basis for consideration of the role and relativity of ‘marginality’.

Co-creative media in remote Indigenous communities

This paper examines co-creative video outputs that have originated from, or relate to, remote Indigenous communities in Australia. Scholarly work on remote media has mostly operated at the interface of media studies and anthropology, seeking to identify how cultural systems shape the production, distribution and reception of media in Aboriginal communities. This paper looks instead at content themes, funding sources and institutions during the 2010-2013 period, and examines the factors that may be determining the quantity of co-creative outputs, as well as the types of stories that get produced. I argue that the focus on culture has obscured important shifts in remote media policy and funding, including a trend towards content designed to address social disadvantage.

Managing creativity on the margins : a comparative study of Beijing’s Songzhuang Art District and Hangzhou’s White Horse Lake Creative Eco-City

In the past decade the ‘creative cluster’ has become a driver of urban renewal in China. Many cluster developments attract human capital and investment to post-industrial spaces. This paper looks at two developments which are more post-agricultural than post-industrial: the first is Songzhuang, a large scale contemporary art community situated on the eastern fringe of Beijing, the second is Hangzhou’s White Horse Lake Creative Eco-City, a ‘mixed variety’ cluster model which integrates elements of art, fashion, design and animation. The common factor in both cases is how they came into existence. In both districts urban creative workers moved into a rural environment. Drawing on interviews with planners, officials, and residents we investigate the challenges of sustaining such fringe clusters.

Developing Co-operating Legal Knowledge Based Systems

In attempting to build intelligent litigation support tools, we have moved beyond first generation, production rule legal expert systems. Our work supplements rule-based reasoning with case based reasoning and intelligent information retrieval. This research, specifies an approach to the case based retrieval problem which relies heavily on an extended object-oriented / rule-based system architecture that is supplemented with causal background information. Machine learning techniques and a distributed agent architecture are used to help simulate the reasoning process of lawyers. In this paper, we outline our implementation of the hybrid IKBALS II Rule Based Reasoning / Case Based Reasoning system. It makes extensive use of an automated case representation editor and background information.

Engaging creativity through an action learning and action research process to develop an Indigenous art exhibition

In most art exhibitions, the creative part of the exhibition is assumed to be the artworks on display. But for the Capricornia Arts Mob’s first collective art exhibition in Rockhampton during NAIDOC Week in 2012, the process of developing the exhibition became the focus of creative action learning and action research. In working together to produce a multi-media exhibition, we learned about the collaborative processes and time required to develop a combined exhibition. We applied Indigenous ways of working – including yarning, cultural respect, cultural protocols, mentoring young people, providing a culturally safe working environment and sharing both time and food – to develop our first collective art exhibition. We developed a process that allowed us to ask deep questions, engage in a joint journey of learning, and develop our collective story. This paper explores the processes that the Capricornia Arts Mob used to develop the exhibition for NAIDOC 2012.

Creativity management : the new challenge for BPM

Besides classical criteria such as cost and overall organizational efficiency, an organization’s ability to being creative and to innovate is of increasing importance in markets that are overwhelmed with commodity products and services. Business Process Management (BPM) as an approach to model, analyze, and improve business processes has been successfully applied not only to enhance performance and reduce cost but also to facilitate business imperatives such as risk management and knowledge management. Can BPM also facilitate the management of creativity? We can find many examples where enterprises unintentionally reduced or even killed creativity and innovation for the sake of control, performance, and cost reduction. Based on the experiences we have made within case studies with organizations from the creative industries (film industry, visual effects production, etc.,) we believe that BPM can be a facilitator providing the glue between creativity management and well-established business principles. In this article we introduce the notions of creativity-intensive processes and pockets of creativity as new BPM concepts. We further propose a set of exemplary strategies that enable process owners and process managers to achieve creativity without sacrificing creativity. Our aim is to set the baseline for further discussions on what we call creativity-oriented BPM.