Creative arts research : a long path to acceptance

The majority of tertiary practice-led creative arts disciplines became part of the Australian university system as a result of the creation of the Unified National System of tertiary education in 1988. Over the past two decades, research has grown as the yardstick by which academic performance in the Australian university sector is recognised and rewarded. Academics in artistic disciplines, who struggled to adapt to a culture and workload expectations different from their previous, predominantly teaching based, employment, continue to see their research under-valued within the established evaluation framework. Despite a late 1990s Australian government funded inquiry, many of the inequities remain. While the Excellence in Research in Australia (ERA) exercise has acknowledged the non-text outputs of artist-academics in its evaluation of 'research outcomes', much of the process remains resolutely framed by measures that work against creative arts researchers.

Workforce-related risks in projects with a contingent workforce

Our research examined how projects can draw together the fields of human resource management (HRM) and risk management (RM) to consider workforce-related risks on projects; particularly those with a large contingent workforce. It is argued that RM frameworks could be enhanced by a more comprehensive understanding of the specific potential non-technical “people risks” in projects. The study focussed on the Oil and Gas industry and undertook interviews with experts in the field. The findings are considered within the framework of key HRM areas; Management Practices, General Employment Practices, Staffing, HR Development, and Compensation and Benefits, along with Project Completion. Drawing together RM and HRM in a project environment, our research provides a unique opportunity to identify critical workforce-related risks. Such identification is the first step towards a more comprehensive approach to risk assessment and planning for mitigation of such risks in projects.

Investigating design for disassembly through creative practice

The construction industry is responsible for a significant part of the solid waste that industrialised nations dispose of each year. One reason for this is the inability to easily separate materials and components from each other and from the building structure. If buildings were designed for disassembly in the first instance, then future material and component recovery would be easier. This paper presents a number of principles for design for disassembly that have been tested and developed through a process of research through creative practice. A number of architectural designs have been used to trial the principles in practice.

Nursing casualisation and communication : a critical ethnography

Aim The aim was to explore the relationship between nursing casualization and the culture of communication for nurses in a healthcare facility. Background Casualization, or non-standard work, is the use of temporary, contract, part-time and casual labour. An increase in casual labour has been part of a global shift in work organization aimed at creating a more flexible and cheaper workforce. It has been argued that flexibility of labour has enabled nurses to manage both non-work related needs and an increasingly complex work environment. Yet no research has explored casualization and how it impacts on the communication culture for nurses in a healthcare facility. Design Critical ethnography. Methods Methods included observation, field notes, formal interviews and focus groups. Data collection was undertaken over the 2 years 2008–2009. Results The concepts of knowing and belonging were perceived as important to nursing teamwork and yet the traditional time/task work model, designed for a full-time workforce, marginalized non-standard workers. The combination of medical dominance and traditional stereotyping of the nurse and work as full-time shaped the behaviours of nurses and situated casual workers on the periphery. The overall finding was that entrenched systemic structures and processes shaped the physical and cultural dimensions of a contemporary work environment and contributed to an ineffective communication culture. Conclusion Flexible work is an important feature of contemporary nursing. Traditional work models and nurse attitudes and practices have not progressed and are discordant with a contemporary approach to nursing labour management.

Fashion Thinking : Creative Approaches to the Design Process, F. Dieffenbacher (2013)

Fashion Thinking: Creative Approaches to the Design Process, F. Dieffenbacher (2013) London: AVA, 224 pp., ISBN: 9782940411719, p/bk, $79.99

Educating the creative citizen : design education programs in the knowledge economy

The shift in the last twenty years from an industrialised economy to a knowledge economy demands new modes of education in which individuals can effectively acquire 21st century competencies. This article builds on the findings and recommendations of a Knowledge Economy Market Development Mapping Study (KEMDMS), conducted in Queensland, Australia. The study was conducted to identify the value of design education programs from primary school through to the professional development level. This article considers the ability of design education as a framework to deliver on the 21st century competences required for the three defining features of the creative knowledge economy – Innovation, Transdisciplinarity and Networks. This is achieved by contextualising key findings from the KEMDMS, including current design education initiatives, and outlining the current and future challenges faced. From this, this article focuses on the role of the tertiary education sector as the central actor in the creative economy in the development of generic design/design education capabilities. Through the unpacking of the study's three key observation themes for change, a holistic design education framework is proposed, and further research directions are discussed.

International Perspectives on Business Innovation and Disruption in the Creative Industries : Film, Video and Photography

This volume examines how disruptive innovations are reshaping industry boundaries and challenging conventional business models and practices in the industries for film, video and photography. The thirteen chapters provide a rich and diverse account of these processes from a wide range of country contexts. The book fills the gap between the study of disruption by innovation scholars in business schools and the recognition of disruption by academics and practitioners from non-business school disciplines and contexts, including the broader social sciences.

Writers as performers : developing reflexive and creative writing identities

Writing is a complex and learned activity in that it requires us to shape our thoughts into words and texts that are appropriate for the purpose, audience and medium of a variety of communicative forms. Writers must constantly make decisions about how to represent their subject matter and themselves through language. In this way, writing can be conceptualised as a performance whereby writers shape and represent their identities as they mediate social structures and personal considerations. In this paper I use theories of reflexivity and discourse to analyse interviews and writing samples of culturally and linguistically diverse Australian primary students for evidence of particular kinds of writing identities. Findings indicate a clear influence of particular teaching strategies and contexts on the writing identities of students. I argue that making students aware of their writing choices, the influences on, and the potential impact of those choices on themselves, their text and their audience, is a new imperative in the teaching of writing.

Embedded creative workers and creative work in education

This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’portfolio careers. Much has been written, for exam- ple, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.

The Fleet Store : devising a public retail exhibition to promote creative, innovative and sustainable business models for emerging fashion designers

1.Description of the Work The Fleet Store was devised as a creative output to establish an exhibition linked to a fashion business model where emerging designers were encouraged to research new and innovative strategies for creating design-driven and commercial collections for a public consumer. This was a project that was devised to break down the perceptions of emerging fashion designers that designing commercial collections linked to a sustainable business model is a boring and unnecessary process. The focus was to demystify the business of fashion and to link its importance to a design-driven and public outcome that is more familiar to fashion designers. The criterion for participation was that all designers had to be registered as a business with the Australian Taxation Office. Designers were chosen from the Creative Enterprise Australia Fashion Business Incubator, the QUT fashion graduate alumni and current QUT fashion design and double degree (fashion and business) students with existing businesses. The project evolved from a series of collaborative workshops where designers were introduced to new and innovative creative industries’ business models and the processes, costings and timings involved to create a niche, sustainable business for a public exhibition of design-driven commercial collections. All designers initiated their own business infra-structure but were then introduced to the concept of collaboration for successful and profitable exhibition and business outcomes. Collaborative strategies such as crowd funding, crowd sourcing, peer to peer mentoring and manufacturing were all researched, and strategies for the establishment of the retail exhibition were all devised in a collaborative environment. All participants also took on roles outside their ‘designer’ background to create a retail exhibition that was creative but also had critical mass and aesthetic for the consumer. The Fleet Store ‘popped up’ for 2 weeks (10 days), in a heritage-listed building in an inner city location. Passers-by were important, but the main consumer was enlisted by the use of interest and investment from crowd sourcing, crowd funding, ethical marketing, corporate social responsibility projects and collaborative public relations and social media strategies. The research has furthered discussion on innovative strategies for emerging fashion designers to initiate and maintain sustainable businesses and suggests that collaboration combined with a design-driven and business focus can create a sustainable and economically viable retail exhibition. 2. Research Statement Research Background The research field involved developing a new ethical, design-driven, collaborative and sustainable model for fashion design practice and management. The research asked can a public, design-driven, collaborative retail exhibition create a platform for promoting creative, innovative and sustainable business models for emerging fashion designers. The methodology was primarily practice-led as all participants were designers in their own right and the project manager acted as a mentor and curator to guide the process and analyse the potential of the research question. The Fleet Store offers new knowledge in design practice and management; with the creation of a model where design outcomes and business models are inextricably linked to the success of the creative output. Key innovations include extending the commercialisation of emerging fashion businesses by creating a curated retail gallery for collaborative and sustainable strategies to support niche fashion designer labels. This has contributed to a broader conversation on how to nurture and sustain competitive Australian fashion designers/labels. Research Contribution and Significance The Fleet Store has contributed to a growing body of research into innovative and sustainable business models for niche fashion and creative industries’ practitioners. All participants have maintained their business infra-structure and many are currently growing their businesses, using the strategies tested for the Fleet Store. The exhibition space was visited by over 1,000 people and sales of $27,000 were made in 10 days of opening. (Follow up sales of $3,000 has also been reported.) Three of the designers were ‘discovered’ from the exhibition and have received substantial orders from high profile national buyers and retailers for next season delivery. Several participants have since collaborated to create other pop up retail environments and are now mentoring other emerging designers on the significance of a collaborative retail exhibition to consolidate niche business models for emerging fashion designers.

The use of creative activities in dementia in residential aged care facilities in Australia : a cross-sectional study

This thesis provides the first inquiry into the use of creative activities in dementia care in residential aged care facilities in Australia. The study used descriptive method design, incorporating a mix of quantitative and qualitative approaches to explore the incidence and the characteristics of these activities from the carers' perspective. Information about the use of creative activities and the appreciation of these activities by residents and carers is essential to the provision of dementia care and treatment to improve the quality of life of people with dementia.

A framework for analysing creative activity within puzzle-game play experiences

This thesis is an analyzing creative processes that can be fostered through computer gaming. Outcomes from the research build on our knowledge of how computer games foster creative thinking. The research proposes guidelines that build upon our understanding of the relationship between the creative processes that players undertake during a game and the components of the game that allow these processes to occur. These guidelines may be used in the game design process to better facilitate creative gameplay activity. A significant research contribution is the ability to create games that facilitate creative thinking through engaging interactions with technology.

Interrogating Creative Theory and Creative Work: Inside the Games Studio

The expansion of creative and cultural industries has provided a rich source for theoretical claims and commentary. Much of this reproduces and extends the idea that autonomy is the defining feature of both enterprises and workers. Drawing on evidence from research into Australian development studios in the global digital games industry, the article interrogates claims concerning autonomy and related issues of insecurity and intensity, skill and specialisation, work–play boundaries, identity and attachments. In seeking to reconnect changes in creative labour to the wider production environment and political economy, an argument is advanced that autonomy is deeply contextual and contested as a dimension of the processes of capturing value for firms and workers.

Caught in the headlights: Designing for creative learning and teaching in higher education

This study was an exploration of the different ways that educators conceptualise and approach creative learning and teaching. The research revealed theoretical and practice-based insights, demonstrating that exemplary teachers adopt an ecological approach to designing for student creativity; this approach acknowledges and works with the complexity of the higher education environment and the dynamic relationships between students, peers and teachers. The inquiry confirmed the value of using learning design patterns to uncover hidden creative processes.