Creative credits:a randomized controlled industrial policy experiment

This report examines the results of a pilot study, which used a method of evaluation called randomised control trials (RCTs) to see if a popular business support scheme called Creative Credits worked effectively. The pilot study, which began in Manchester in 2009, was structured so that vouchers, or 'Creative Credits', would be randomly allocated to small and medium-sized businesses applying to invest in creative projects such as developing websites, video production and creative marketing campaigns, to see if they had a real effect on innovation. The research found that the firms who were awarded Creative Credits enjoyed a short-term boost in their innovation and sales growth in the six months following completion of their creative projects. However, the positive effects were not sustained, and after 12 months there was no longer a statistically significant difference between the groups that received the credits and those that didn’t. The report argues that these results would have remained hidden using the normal evaluation methods used by government, and calls for RCTs to be used more widely when evaluating policies to support business growth.

Positive mood is not always good:the role of team mood and work stressors for creative work performance

Presentation of an abstract

Creative self-efficacy and individual creativity in teams:cross-level interactions with team informational resources

We propose a cross-level perspective on the relation between creative self-efficacy and individual creativity in which team informational resources, comprising both shared “knowledge of who knows what” (KWKW) and functional background diversity, benefit the creativity of individuals more with higher creative self-efficacy. To test our hypotheses, we conducted a multi-level study with 176 employees working in 34 research and development teams of a multinational company in 4 countries. In support of our hypotheses, the link between creative self-efficacy and individual creativity was more positive with greater shared KWKW, and this interactive effect was pronounced for teams of high rather than low functional background diversity. We discuss implications for the study of creative self-efficacy in team contexts. (PsycINFO Database Record (c) 2012 APA, all rights reserved).

Sulfate-enhanced catalytic destruction of 1,1,1-trichlorethane over Pt(111)

The catalytic destruction of 1,1,1-trichloroethane (TCA) over model sulfated Pt(111) surfaces has been investigated by fast X-ray photoelectron spectroscopy and mass spectrometry. TCA adsorbs molecularly over SO4 precovered Pt(111) at 100 K, with a saturation coverage of 0.4 monolayer (ML) comparable to that on the bare surface. Surface crowding perturbs both TCA and SO4 species within the mixed adlayer, evidenced by strong, coverage-dependent C 1s and Cl and S 2p core-level shifts. TCA undergoes complete dechlorination above 170 K, accompanied by C−C bond cleavage to form surface CH3, CO, and Cl moieties. These in turn react between 170 and 350 K to evolve gaseous CO2, C2H6, and H2O. Subsequent CH3 dehydrogenation and combustion occurs between 350 and 450 K, again liberating CO2 and water. Combustion is accompanied by SO4 reduction, with the coincident evolution of gas phase SO2 and CO2 suggesting the formation of a CO−SOx surface complex. Reactively formed HCl desorbs in a single state at 400 K. Only trace (<0.06 ML) residual atomic carbon and chlorine remain on the surface by 500 K.

Knowledge transfer in website design:exploring the processes and benefits of design collaboration for non-creative Micros

This thesis explores the interaction between Micros (<10 employees) from non-creative sectors and website designers ("Creatives") that occurred when creating a website of a higher order than a basic template site. The research used Straussian Grounded Theory Method with a longitudinal design, in order to identify what knowledge transferred to the Micros during the collaboration, how it transferred, what factors affected the transfer and outcomes of the transfer including behavioural additionality. To identify whether the research could be extended beyond this, five other design areas were also examined, as well as five Small to Medium Enterprises (SMEs) engaged in website and branding projects. The findings were that, at the start of the design process, many Micros could not articulate their customer knowledge, and had poor marketing and visual language skills, knowledge core to web design, enabling targeted communication to customers through images. Despite these gaps, most Micros still tried to lead the process. To overcome this disjoint, the majority of the designers used a knowledge transfer strategy termed in this thesis as ‘Bi-Modal Knowledge Transfer’, where the Creative was aware of the transfer but the Micro was unaware, both for drawing out customer knowledge from the Micro and for transferring visual language skills to the Micro. Two models were developed to represent this process. Two models were also created to map changes in the knowledge landscapes of customer knowledge and visual language – the Knowledge Placement Model and the Visual Language Scale. The Knowledge Placement model was used to map the placement of customer knowledge within the consciousness, extending the known Automatic-Unconscious -Conscious model, adding two more locations – Peripheral Consciousness and Occasional Consciousness. Peripheral Consciousness is where potential knowledge is held, but not used. Occasional Consciousness is where potential knowledge is held but used only for specific tasks. The Visual Language Scale was created to measure visual language ability from visually responsive, where the participant only responds personally to visual symbols, to visually multi-lingual, where the participant can use visual symbols to communicate with multiple thought-worlds. With successful Bi-Modal Knowledge Transfer, the outcome included not only an effective website but also changes in the knowledge landscape for the Micros and ongoing behavioural changes, especially in marketing. These effects were not seen in the other design projects, and only in two of the SME projects. The key factors for this difference between SMEs and Micros appeared to be an expectation of knowledge by the Creatives and failure by the SMEs to transfer knowledge within the company.

β-cell-specific glucocorticoid reactivation attenuates inflammatory β-cell destruction

Progression and severity of type 1 diabetes is dependent upon inflammatory induction of nitric oxide production and consequent pancreatic β-cell damage. Glucocorticoids (GCs) are highly effective anti-inflammatory agents but have been precluded in type 1 diabetes and in islet transplantation protocols because they exacerbated insulin resistance and suppressed β-cell insulin secretion at the high-doses employed clinically. In contrast, physiological-range elevation of GC action within β-cells ameliorated lipotoxic β-cell failure in transgenic mice overexpressing the intracellular enzyme 11β-hydroxysteroid dehydrogenase type 1 (MIP-HSD1^tg/+ mice). Here, we tested the hypothesis that elevated β-cell 11beta-HSD1 protects against the β-cell destruction elicited by streptozotocin (STZ), a toxin that dose-dependently mimics aspects of inflammatory and autoimmune β-cell destruction. MIP-HSD1^tg/+ mice exhibited an episodic protection from the severe hyperglycemia caused by a single high dose of STZ associated with higher and sustained β-cell survival, maintained β-cell replicative potential, higher plasma and islet insulin levels, reduced inflammatory macrophage infiltration and increased anti-inflammatory T regulatory cell content. MIP-HSD1^tg/+ mice also completely resisted mild hyperglycemia and insulitis induced by multiple low-dose STZ administration. In vitro, MIP-HSD1^tg/+ islets exhibited attenuated STZ-induced nitric oxide production, an effect reversed with a specific 11beta-HSD1 inhibitor. GC regeneration selectively within β-cells protects against inflammatory β-cell destruction, suggesting therapeutic targeting of 11beta-HSD1 may ameliorate processes that exacerbate type 1 diabetes and that hinder islet transplantation.

Assessing an experimental approach to industrial policy evaluation:Applying RCT+ to the case of Creative Credits

Experimental methods of policy evaluation are well-established in social policy and development eco-nomics but are rare in industrial and innovation policy. In this paper, we consider the arguments forapplying experimental methods to industrial policy measures, and propose an experimental policy eval-uation approach (which we call RCT+). This approach combines the randomised assignment of firmsto treatment and control groups with a longitudinal data collection strategy incorporating quantitativeand qualitative data (so-called mixed methods). The RCT+ approach is designed to provide a causativerather than purely summative evaluation, i.e. to assess both ‘whether’ and ‘how’ programme outcomesare achieved. In this paper, we assess the RCT+ approach through an evaluation of Creative Credits – aUK business-to-business innovation voucher initiative intended to promote new innovation partnershipsbetween SMEs and creative service providers. The results suggest the potential value of the RCT+ approachto industrial policy evaluation, and the benefits of mixed methods and longitudinal data collection.

Creative leadership:a multi-context conceptualization

Various streams of organizational research have examined the relationship between creativity and leadership, albeit using slightly different names such as “creative leadership”, “leading for creativity and innovation”, and “managing creatives”. In this article, we review this dispersed body of knowledge and synthesize it under a global construct of creative leadership, which refers to leading others toward the attainment of a creative outcome. Under this unifying construct, we classify three more narrow conceptualizations that we observe in the literature: facilitating employee creativity; directing the materialization of a leader's creative vision; and integrating heterogeneous creative contributions. After examining the contextual characteristics associated with the three conceptualizations, we suggest that they represent three distinct collaborative contexts of creative leadership. We discuss the theoretical implications of a multi-context framework of creative leadership, especially in terms of resolving three persisting problems in the extant literature: lack of definitional clarity, shortage of nuanced theories, and low contextual sensitivity.

Europeana Creative. EDM Endpoint. Custom Views

The paper discusses the Europeana Creative project which aims to facilitate re-use of cultural heritage metadata and content by the creative industries. The paper focuses on the contribution of Ontotext to the project activities. The Europeana Data Model (EDM) is further discussed as a new proposal for structuring the data that Europeana will ingest, manage and publish. The advantages of using EDM instead of the current ESE metadata set are highlighted. Finally, Ontotext’s EDM Endpoint is presented, based on OWLIM semantic repository and SPARQL query language. A user-friendly RDF view is presented in order to illustrate the possibilities of Forest - an extensible modular user interface framework for creating linked data and semantic web applications.

From 'Plodder' to 'Creative':feedback in teacher education

This article discusses the case study of four student teachers, examining the ways in which a particular kind of feedback—namely, confirmatory feedback—can act as a catalyst for some of the learning and potential change student teachers in a teaching practice group may experience on an initial teacher education programme. It illustrates how one piece of confirmatory feedback given to the student teacher, Jake, during post-observation feedback sessions has been influential not just for him but also for his peers. The article shows how this kind of feedback can be particularly effective when it is specific and detailed. It also exemplifies confirmatory feedback and considers the implications of such feedback for the field of teacher education.

Creative thinking experimentations for entrepreneurship with a disruptive, personalised and mobile game-based learning ecosystem

Based on an unprecedented need of stimulating creative capacities towards entrepreneurship to university students and young researchers, this paper introduces and analyses a smart learning ecosystem for encouraging teaching and learning on creative thinking as a distinct feature to be taught and learnt in universities. The paper introduces a mashed-up authoring architecture for designing lesson-plans and games with visual learning mechanics for creativity learning. The design process is facilitated by creativity pathways discerned across components. Participatory learning, networking and capacity building is a key aspect of the architecture, extending the learning experience and context from the classroom to outdoor (co-authoring of creative pathways by students, teachers and real-world entrepreneurs) and personal spaces. We anticipate that the smart learning ecosystem will be empirically evaluated and validated in future iterations for exploring the benefits of using games for enhancing creative mindsets, unlocking the imagination that lies within, practiced and transferred to multiple academic tribes and territories.

A Kraft-index – kreatív városok – fenntartható vidék (The KRAFT Index: Creative Cities – Sustainable Regions)

A KRAFT-index: Kreatív városok – fenntartható vidék egy komplex mutatórendszer, amely a fejlődési tendenciát, hálózatosodást, a fontosabb szereplők együttműködési készségét és kapacitását, kreativitási potenciálját, valamint a szereplők szinergiáiból fakadó belső energiákat és lehetőségeiket jelzi. A város- és vidékfejlesztés sikerének zálogaként előtérbe állítja és méri az ún. „puha” tényezőket, úgymint a kreativitást, innovációs képességet, új tudás létrehozását, tudástranszfert, együttműködési készséget, bizalmat, kollektív kompetenciákat. A társadalmi, gazdasági és tudományos kapcsolatok és hálózatok sűrűsége, minősége és dinamizmusa a sikeres fejlődés és fejlesztés kulcsai: ezek ma már fontosabb tényezők, mint a fizikai távolság, az adminisztratív jogi határok vagy az ún. „kemény” indikátorok. Az index értékeli egy térség lehetőségeit arra, hogy az ott élők, dolgozók, alkotók és letelepedni kívánók életminőségét, a vállalatok minőségi munkaerő iránti igényét és a fenntarthatósági szempontokat egyaránt figyelembe véve fejlessze gazdaságát és versenyképességét. Három tulajdonságcsoportot mér: 1. kreativitiási és innovációs potenciál, az új tudás létrehozásának képessége, 2. társadalmi és kapcsolati tőke, hálózati potenciál és „összekapcsoltság”, valamint 3. fenntarthatósági potenciál. _____ The KRAFT Index: Creative Cities – Sustainable Regions is a complex indicator system to measure development tendencies, ‘networkedness’, cooperation inclination and capacity, creativity potential and possibilities arising from the synergies among actors. It highlights and gauges ‘soft’ factors, such as creativity, innovation capacity, knowledge production, knowledge transfer, willingness for cooperation, trust, and collective competences and perceives effective regional cooperation among economic and social actors as the measure of successful urban and rural development. The density, quality and dynamism of social, economic and academic networks are more important factors than physical distance, administrative legal barriers or ‘hard’ indicators. The index evaluates the potential of a region to develop its economy and competitiveness by considering the quality of life of its inhabitants, workers, producers and immigrants, the quality workforce requirements of companies and sustainability. It measures three groups of qualities: 1. creativity and innovation potential, the ability of knowledge production; 2. social and connection capital, network potential and connectedness; and 3. sustainability potential.

More Than Words, Brand Destruction in the Online Sphere

The focus of this paper is brand destruction, however in a slightly different sense than the traditional marketing literature depicts it. The concept of brand destruction basically tends to be discussed either (1) as an accidental, counter-productive event in a campaign which leads to the ruining of the brand, or (2) an intentional act by competitors in the market, which results the same breakdown mentioned above. As this paper shows, there are other ways to consider as well, when speaking about brand destruction. An often overlooked type of brand destruction is a rather new phenomenon: destroying the brand by customers or business partners. The adequate scene for this case is the internet itself, especially different social media platforms, e. g. Facebook, Twitter, Tumblr, Instagram, etc. Also popular weblogs can play an important role in brand destruction made by customers or business partners (general cases related to social media are depicted in Lipsman – Mud – Rich – Bruich, 2012). This paper presents a couple of cases in the online field and focuses basically on online communicative activities, in which a brand’s negative properties come to discussion. Both Hungarian and foreign examples are easy to find and they all demonstrate the growing power of consumers. This observation led marketing experts to start talking about the ‘smooth seizure of power by consumers’. Whilst the critic of this concept is considered to be relevant, this paper describes the elements and methods of the ‘seizure’ – from an online social point of view. The key of handling brand destruction cases efficiently lies in the role of social media users. They are not only consumers, but the opportunity for producing online contents is in their hands as well – this fact results in the idea of ‘prosumers’. Thus customers on social media platforms must be handled as a ‘critical mass’: as civic warriors with strong weapons in their armoury. No companies are allowed to feel safe, as the slightest error may well be punished by the crowd.

Creative Techniques in the Framework of Market and Evolution

This paper tries to reframe the man-machine problem, which has frequently changed throughout history. Originally, a machine was a helper of man, but later became its competitor and substitute. As a consequence of this, man has been pushed out of production and possibly, out of life itself. For today, nearly all the man’s functions – except for consumption and creativity – can be furnished by machines. Creativity should have a special place because it is the last “shelter” of man in the conflict with machine. Almost every other faculty of man has more or less been simulated by technology. There are some key questions to be answered: Whom do the creative techniques serve? Is the target group the men or machines?