Creative nonfiction : Granta 104

A 1000-word review of Granta 104 - Fathers : The Men Who Made Us (Allen & Unwin, 2009)

Learning processes in creative service teams : towards a dynamic systems theory

The fastest-growing segment of jobs in the creative sector are in those firms that provide creative services to other sectors (Hearn, Goldsmith, Bridgstock, Rodgers 2014, this volume; Cunningham 2014, this volume). There are also a large number of Creative Services (Architecture and Design, Advertising and Marketing, Software and Digital Content occupations) workers embedded in organizations in other industry sectors (Cunningham and Higgs 2009). Ben Goldsmith (2014, this volume) shows, for example, that the Financial Services sector is the largest employer of digital creative talent in Australia. But why should this be? We argue it is because ‘knowledge-based intangibles are increasingly the source of value creation and hence of sustainable competitive advantage (Mudambi 2008, 186). This value creation occurs primarily at the research and development (R and D) and the marketing ends of the supply chain. Both of these areas require strong creative capabilities in order to design for, and to persuade, consumers. It is no surprise that Jess Rodgers (2014, this volume), in a study of Australia’s Manufacturing sector, found designers and advertising and marketing occupations to be the most numerous creative occupations. Greg Hearn and Ruth Bridgstock (2013, forthcoming) suggest ‘the creative heart of the creative economy […] is the social and organisational routines that manage the generation of cultural novelty, both tacit and codified, internal and external, and [cultural novelty’s] combination with other knowledges […] produce and capture value’. 2 Moreover, the main “social and organisational routine” is usually a team (for example, Grabher 2002; 2004).

Objectifying the Subjective : Assessment and Feedback in Creative Arts Studio Learning and Teaching

This paper examines the Assessment and Feedback aspects of Studio Teaching as Creative Arts pedagogy. Prompted by USQ’s newly offered Bachelor of Creative Arts (BCA), the author has developed an Assessment Matrix specifically designed to satisfy a number of imperatives, including: • ‘objectifying’ the subjective aspects of creative practice as assessable coursework/research • providing the means by which accurate, detailed, personalised and confidential feedback may be provided to students individually • providing consistent, accurate, meaningful assessment records for student, lecturer, and institution • ensuring consistency, continuity, and transparency of assessment processes and records to satisfy quality audits • minimising marking and assessment time, whilst maximising assessment integrity and depth • requiring only basic level skills and knowledge of a computer application already in common use (Microsoft Excel) • adaptability to a range of creative courses ‐ across disciplines This Assessment Matrix has been in development (and trialled) since January 2009.

Space as a resource in creative design practices

Based on longitudinal ethnographic fieldwork in two industrial design departments and two design companies, we explore the role of spatial arrangements for supporting creative design practices within different design studios. From our results, we show that designers explicitly make use of the physical space for: 1) communicating and inspiring design ideas; 2) exploring design solutions, and; 3) managing design projects. We believe that these design practices could bring insightful implications for developing ubiquitous technologies to support the design profession.

Cultural economy planning in creative cities : discourse and practice

While a growing body of research analyses the functional mechanisms of the cultural or creative economy, there has been little attention devoted to understanding how local governments translate this work into policy. Moreover, research in this vein focuses predominately on Richard Florida's creative class thesis rather than considering the wider body of work that may influence policy. This article seeks to develop a deeper understanding of how municipalities conceptualize and plan for the cultural economy through the lens of two cities held up as model ‘creative cities’ — Austin, Texas and Toronto, Ontario. The work pays particular attention to how the cities adopt and adapt leading theories, strategies and discourses of the cultural economy. While policy documents indicate that the cities embrace the creative city model, in practice agencies tend to adapt conventional economic development strategies for cultural economy activity and appropriate the language of the creative city for multiple purposes.

Non-linear resonance in strings under narrow band random excitation, part I: Planar response and stability

Non-linear planar response of a string to planar narrow band random excitation is investigated in this paper. A response equation for the mean square deflection σ2 is obtained under a single mode approximation by using the equivalent linearization technique. It is shown that the response is triple valued, as in the case of harmonic excitation, if the centre frequency of excitation Ω lies in a certain specified range. The triple valued response occurs only if the excitation bandwidth β is smaller than a critical value βcrit which is a monotonically increasing function of the intensity of excitation. An approximate method of investigating the almost sure asymptotic stability of the solution is presented and regions of instability in the Ω-σ2 plane have been charted. It is shown that planar response can become unstable either due to an unbounded growth of the in-plane component of motion or due to a spontaneous appearance of an out-of-plane component.

Pressure dependence of 35Cl nuclear quadrupole resonance in 2,5-, 2,6- and 3,5-dichlorophenols

Pressure dependence of the 35Cl Nuclear Quadrupole Resonances (N.Q.R.) in 2,5-, 2,6- and 3,5-dichlorophenols (DCP) has been studied up to a pressure of about 6·5 kbar at room temperature. While the pressure dependence of the two resonance lines in 2,6-DCP is essentially similar, the lower frequency line in 2,5-DCP is almost pressure independent and the higher frequency line shows a linear variation with pressure upto about 3·5 kbar but shows a negative pressure coefficient beyond this pressure. The two lines in 3,5-DCP have a non-linear pressure dependence with the curvature changing smoothly with pressure. The pressure coefficient for both lines becomes negative beyond a pressure of 5 kbar. The pressure dependence of the N.Q.R. frequencies is discussed in relation to intra- and inter-molecular contacts. Also, a thermodynamic analysis of the data is carried out to determine the constant volume temperature derivative of the N.Q.R. frequency.

Zeeman effect of nuclear quadrupole resonance in 1-chloro-2,4-dinitrobenzene

The Zeeman effect of NQR was studied in 1-chloro-2,4-dinitrobenzene. A low value of the asymmetry parameter (0.10) was obtained. Four physically inequivalent field gradients were located and their orientations in the crystallographic abc system were determined using symmetry considerations. From these data the orientations of the molecules in the unit cell were determined. The results agree well with the two-dimensional x-ray structural data. The bond characters of the C[Single Bond]Cl bond were calculated, and the values compare well with those generally obtained for C[Single Bond]Cl bonds in chlorine derivatives of benzene. ©1973 The American Institute of Physics.

Zeeman effect of chlorine nuclear quadrupole resonance in mercuric chloride

Abstract is not available.

Lithium nuclear-magnetic-resonance in lithium acetate dihydrate, Li(CH3COO).2H2O

Li n.m.r, in single crystals of lithium acetate dihydrate is used to determine the quadrupole coupling parameters: (e2qQ/h) and r/. The orientations of the principal z, y and x components of the electric field gradient tensor are determined to be along the crystallographic b, a and c axes respectively. The parameters experimentally determined are (e2qQ/h)= 154"6 kHz; and i/= 0.9. This study indicates a tetrahedral configuration around the Li ion, confirming the recent X-ray and p.m.r, results.

The creative suburb: A study in creative reflective practice

As long as population growth continues, policies for urban consolidation closer to city centres fail, and there is land available, Australians will continue to build in new Greenfield suburbs. However, the 50-year legacy of the homogeneous one-size-fits-all approach to suburbia beyond the sticks and sometimes hours away from where one can find a job, is proving unsustainable, the commute alone a significant contributor to greenhouse gas emissions across the globe. The ‘creative suburb’ was inspired by the possibility to create new, innovative and entrepreneurial suburbs, places which are more self-sufficient and self-contained than the ‘product’ perpetuated down under even today. The ‘creative suburb’ draws on significant primary research with suburban home-based creative industries workers, vernacular architecture, and town planning in the Toowoomba region, in the state of Queensland, Australia, as inspiration for a series of new building and urban designs available for innovators operating in new suburban greenfield situations in Queensland and possibly further a field. This paper considers the role ‘creative reflective practice’ played in the process of developing the building and urban designs presented in a book and showcased in a building as creative outputs of this practice-led and property development industry embedded inquiry.

Ferromagnetic resonance in Sr2+ doped rare earth orthocobaltites, Ln1â xSrxCoO3

FMR measurements have been carried out on several members of the Ln1âxSrxCoO3 (Ln = Rare earth) system. The results show that geff in these systems is around 1.25 independent of x as well as the rare earth ion. It is suggested that this unusual value of geff is due to the localized intermediate-spin Co3+ ions (t52ge1g) located at the top of the Ï* band.

Nuclear quadrupole resonance in coordination compounds

Abstract is not available.

Paradigmatic considerations for creative practice in Creative Industries research: The case of Australia's Indie 100

This paper begins with the assertion that research grounded in creative practice constitutes a new paradigm. We argue both for and against the idea. We argue against the idea in terms of applying it to the idealised ‘lone artist’ engaged in the production of their art, whose focus of research is a self-reflection upon the art they produce, and whose art is also the findings of the research. Our position is that such an approach cannot be considered as anything other than a form of auto-phenomenography, that such efforts are part of qualitative research, and they are thus trivial in paradigmatic terms. However, we argue in the positive for understanding the artistic event – by which we mean any mass ecology of artistic practice – as being paradigmatically new in terms of research potentials and demands. Our exemplar for that argument is a practice-led, large-scale annual event called Indie 100 which has run for five years and has demonstrated a distinct paradigmatic ‘settling in’ over its duration while clearly pushing paradigmatic boundaries for research into creative practice.