Creativity and the Australian suburbs : the appeal of suburban localities for the creative industries workforce

The locus of creative inspiration and production is commonly associated with either the dynamism of the inner city or with the natural landscape, with its Arcadian transformative associations. This article considers the spatiality of creative work in an in-between site: the outer suburbs in Australia. The outer suburbs occupy a conflicted status in the national imaginary: frequently regarded as the locus of consumption and materialism, they are localities which few associate with creativity or creative industries. Creative city discourse further instils the idea that all things creative occur only in the inner city. Yet Australia is a highly suburbanised country: the middle and outer suburbs are where most Australians live and work. This article challenges the perception that creativity is spatially clustered in the inner city. It is based on empirical and qualitative research that maps and investigates the experience of creative industries workers in outer-suburban localities of Brisbane and Melbourne. One of the key findings is the significance of the relationship between work and place for creative workers located in outer-suburban localities, rupturing assumptions about suburbia and “creative” inner-city enclaves.

Globalization and suburbanization : can creative industries develop in outer urban zones? the Australian case

The creative cities literature gives an emphasis to developing cultural amenity and creative clusters in inner city areas, in order to attract both international visitors and what Richard Florida termed the “creative class”. But many creative workers live in outer urban zones (suburbs). How do creative industries policies meet their needs? This paper reports on a three-year study supported by the Australian Research Council into creative workforce in Australian suburbs in the cities of Melbourne and Brisbane.

Risky business : managing creative practice postgraduates through HDR programs

In Australia, as elsewhere, universities are being encouraged to grow their postgraduate research candidature base while at the same time there is increasing pressure on resources with which to manage the burgeoning groups. In this environment HDR supervision strategies are seen as increasingly important as research managers seek the best possible ‘fit’ for an applicant: the candidate who will provide a sound return on investment and demonstrate endurance in the pursuit of a timely completion. As research managers know, the admissions process can be a risky business. The process may be tested further in the context of the new models of doctoral cohort supervision that are being discussed in the higher degree research management sector. The focus of this paper is an examination of the results of investigations of two models of postgraduate cohort supervision in the creative arts Master of Arts research program at QUT with a view to identifying attributes that may be useful for the formation of cohort models of supervision in the doctoral area.

Making connections : creative industries networks in outer urban locations

The role of networks and their contribution to sustaining and developing creative industries is well documented (Wittel 2001, Kong 2005, Pratt, 2007). This article argues that although networks operate across geographical boundaries, particularly through the use of communication technologies, the majority of studies have focussed on the ways in which networks operate among creative industry workers located in a) specific inner-urban metropolitan regions or b) specific industries. Such studies are informed by the geographical mindset of creative city proponents such as Florida (2002) and Landry (2000) in which inner-urban precincts are seen as the prime location or ‘hub’ for creative industries activity, business development and opportunity. But what of those creative industries situated beyond the inner city? Evidence in Australia suggests that there is increasing creative industries activity beyond the inner city, in outer-suburban and ex-urban areas (Gibson and Brennan-Horley 2006). This article identifies features of networks operating two outer-suburban locations.

Renegades on the frontier of innovation: The shanzhai grassroots communities of Shenzhen in China's creative economy

Two Australian researchers specializing in China's creative industries examine recent developments in southern China commonly associated with the shanzhai phenomenon (e.g., production and sale of cheap local facsimiles of globally branded goods). While shanzhai is often condemned as the embodiment of China's "knock-off" industries, the authors argue that it might be more appropriately viewed as an instance of China's emerging creative economy and an example of rapid prototyping. The paper traces the evolution of shanzhai mobile phones and the materialization of the shanzhai ethos in popular culture. In arguing that shanzhai provides inputs into creative industries, the paper describes the fuzzy boundary between formal and informal culture and notes the interaction between three spheres of activity: official culture, the market, and grassroots culture.

Creating creative classrooms

My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. (Robinson, 2006) This bold assertion from Sir Ken Robinson, a leading expert and speaker on creativity, is perhaps even truer now than it was six years ago. Literacy (and numeracy) have always been, and should remain, fundamental to education. However, creativity is not a rival to literacy or numeracy education; it is not an addition to these (or any other) areas of the curriculum. Creativity should be a core, integrated element of teaching and learning throughout the curriculum and the school environment. In the new national curriculum, “critical and creative thinking” are highlighted as general capabilities “that can be developed and applied across the curriculum” (ACARA, 2011, p. 15). Moreover, an aim of education noted by the 2008 Melbourne Declaration on Educational Goals for Young Australians is “to support all young Australians to become ... confident and creative individuals” (MCEETYA, 2008, p. 8). These are confirmation that creativity should have high “status” in Australian education.

Development issues for the creative economy in Malaysia

Cultural tourism and creative industries have intersecting policy agendas and economic interdependencies. Most studies of the creative industries have focused on western countries. Cultural tourism is rarely included. However the arrival of the creative economy and its movement through developing countries has changed the relationship. Supporters of the creative economy now see fit to include tourism. This thesis addresses the development of the creative economy in Malaysia. The thesis conducted case studies on animation and museum sectors in Malaysia. These two case studies provide information on the development of creative economy in Malaysia. The study found that a top-down cultural management approach is being practised but that Malaysia is now influenced by new ideas concerning innovation and technical creativity. The study examined whether or not technical innovation by itself is enough. The reference points here are the Multimedia Super Corridor in Cyberjaya and other similar projects in the region. The museum case study was situated in Malacca. It showed that museums needed to adapt new media and new experiences to remain relevant in today’s world. In applying a case study approach, the thesis made use of interviews with key stakeholders, as well consulting numerous policy documents and web sites. Both case studies imitated similar products and services in the market but added local characteristics. This research project contributes significantly to the existing body of knowledge in the field of creative economy within the context of developing countries. Finally the thesis makes recommendations for Malaysia to better position itself in the regional economy while retaining its distinctive cultural identity.

Embedded criminology and knowledges of resistance

This chapter explores the changing intellectual landscapes and market-led research within academic institutions as the rise of 'embedded criminology' and argues for knowledges of resistance.

Chinese online literature : creative consumers and evolving business models

Purpose – The internet is transforming possibilities for creative interaction, experimentation and cultural consumption in China and raising important questions about the role that “publishers” might play in an open and networked digital world. The purpose of this paper is to consider the role that copyright is playing in the growth of a publishing industry that is being “born digital”. Design/methodology/approach – The paper approaches online literature as an example of a creative industry that is generating value for a wider creative economy through its social network market functions. It builds on the social network market definition of the creative industries proposed by Potts et al. and uses this definition to interrogate the role that copyright plays in a rapidly-evolving creative economy. Findings – The rapid growth of a market for crowd-sourced content is combining with growing commercial freedom in cultural space to produce a dynamic landscape of business model experimentation. Using the social web to engage audiences, generate content, establish popularity and build reputation and then converting those assets into profit through less networked channels appears to be a driving strategy in the expansion of wider creative industries markets in China. Originality/value – At a moment when publishing industries all over the world are struggling to come to terms with digital technology, the emergence of a rapidly-growing area of publishing that is being born digital offers important clues about the future of publishing and what social network markets might mean for the role of copyright in a digital age.

No cure for curiosity: Linking physical and digital urban layers

Although mobile phones are often used in public urban places to interact with one’s geographically dispersed social circle, they can also facilitate interactions with people in the same public urban space. The PlaceTagz study investigates how physical artefacts in public urban places can be utilised and combined with mobile phone technologies to facilitate interactions. Printed on stickers, PlaceTagz are QR codes linking to a digital message board enabling collocated users to interact with each other over time resulting in a place-based digital memory. This exploratory project set out to investigate if and how PlaceTagz are used by urban dwellers in a real world deployment. We present findings from analysing content received through PlaceTagz and interview data from application users. QR codes, which do not contain any contextual information, piqued the curiosity of users wondering about the embedded link’s destination and provoked comments in regards to people, place and technology.

Anticipating user experience with a desired product : the AUX Framework

Positive user experience (UX) has become a key factor in designing interactive products. It acts as a differentiator which can determine a product’s success on the mature market. However, current UX frameworks and methods do not fully support the early stages of product design and development. During these phases, assessment of UX is challenging as no actual user-product interaction can be tested. This qualitative study investigated anticipated user experience (AUX) to address this problem. Using the co-discovery method, participants were asked to imagine a desired product, anticipate experiences with it, and discuss their views with another participant. Fourteen sub-categories emerged from the data, and relationships among them were defined through co-occurrence analysis. These data formed the basis of the AUX framework which consists of two networks which elucidate 1) how users imagine a desired product and 2) how they anticipate positive experiences with that product. Through this AUX framework, important factors in the process of imagining future products and experiences were learnt, including the way in which these factors interrelate. Focusing on and exploring each component of the two networks in the framework will allow designers to obtain a deeper understanding of the required pragmatic and hedonic qualities of product, intended uses of product, user characteristics, potential contexts of experience, and anticipated emotions embedded within the experience. This understanding, in turn, will help designers to better foresee users’ underlying needs and to focus on the most important aspects of their positive experience. Therefore, the use of the AUX framework in the early stages of product development will contribute to the design for pleasurable UX.

Putting the cart before the horse? Driving student engagement through first year career identity development in a large multidisciplinary creative industries cohort

It is now widely accepted that first year students benefit from pedagogies which mediate and support their transitions to university, and assist them to develop an adaptive student identity. We present an initiative which takes an alternative and additional approach to this way of viewing the first year experience. Based on research into creative industries career trajectories, this initiative focuses on the establishment of nascent career identity and professional self-concept amongst 600 first semester Bachelor of Creative Industries (BCI) students at QUT. The BCI is offered as a three year undergraduate program involving self-selection of majors, minors and electives, and also as a four year double degree with Business and Law faculties. Students engage in a scaffolded process of initial career visioning and reflective course planning, based on their own industry and careers research, guided by industry-active academic and careers staff, and drawing upon the experiences of final year students.