Evaluation of creative problem solving abilities in undergraduate structural engineers through interdisciplinary problem based learning

For a structural engineer, effective communication and interaction with architects cannot be underestimated as a key skill to success throughout their professional career. Structural engineers and architects have to share a common language and understanding of each other in order to achieve the most desirable architectural and structural designs. This interaction and engagement develops during their professional career but needs to be nurtured during their undergraduate studies. The objective of this paper is to present the strategies employed to engage higher order thinking in structural engineering students in order to help them solve complex problem-based learning (PBL) design scenarios presented by architecture students. The strategies employed were applied in the experimental setting of an undergraduate module in structural engineering at Queen’s University Belfast in the UK. The strategies employed were active learning to engage with content knowledge, the use of physical conceptual structural models to reinforce key concepts and finally, reinforcing the need for hand sketching of ideas to promote higher order problem-solving. The strategies employed were evaluated through student survey, student feedback and module facilitator (this author) reflection. The strategies were qualitatively perceived by the tutor and quantitatively evaluated by students in a cross-sectional study to help interaction with the architecture students, aid interdisciplinary learning and help students creatively solve problems (through higher order thinking). The students clearly enjoyed this module and in particular interacting with structural engineering tutors and students from another discipline

Location decision-making of 'creative' industries: the media and computer games sectors in Dublin, Ireland

There has been significant research undertaken examining the “creative class” thesis within the context of the locational preferences of creative workers. However, relatively little attention has been given to the locational preferences of creative companies within the same context. This paper reports on research conducted to qualitatively analyse the location decision making of companies in two creative sectors: media and computer games. We address the role of the so-called “hard” and “soft” factors in company location decision making within the context of the creative class thesis, which suggests that company location is primarily determined by “soft” factors rather than “hard” factors. The study focuses upon “core” creative industries in the media and computer game sectors and utilises interview data with company managers and key elite actors in the sector to investigate the foregoing questions. The results show that “hard” factors are of primary importance for the location decision making in the sectors analysed, but that “soft” factors play quite an important role when “hard” factors are satisfactory in more than one competing city-region.

Creative Writing Workshop with Kenn Bivins

Writers and literary enthusiasts are invited to be a part of a free creative writing adventure with guest author.

Decision Making for Teams of Mobile Robots

In the past years, we could observe a significant amount of new robotic systems in science, industry, and everyday life. To reduce the complexity of these systems, the industry constructs robots that are designated for the execution of a specific task such as vacuum cleaning, autonomous driving, observation, or transportation operations. As a result, such robotic systems need to combine their capabilities to accomplish complex tasks that exceed the abilities of individual robots. However, to achieve emergent cooperative behavior, multi-robot systems require a decision process that copes with the communication challenges of the application domain. This work investigates a distributed multi-robot decision process, which addresses unreliable and transient communication. This process composed by five steps, which we embedded into the ALICA multi-agent coordination language guided by the PROViDE negotiation middleware. The first step encompasses the specification of the decision problem, which is an integral part of the ALICA implementation. In our decision process, we describe multi-robot problems by continuous nonlinear constraint satisfaction problems. The second step addresses the calculation of solution proposals for this problem specification. Here, we propose an efficient solution algorithm that integrates incomplete local search and interval propagation techniques into a satisfiability solver, which forms a satisfiability modulo theories (SMT) solver. In the third decision step, the PROViDE middleware replicates the solution proposals among the robots. This replication process is parameterized with a distribution method, which determines the consistency properties of the proposals. In a fourth step, we investigate the conflict resolution. Therefore, an acceptance method ensures that each robot supports one of the replicated proposals. As we integrated the conflict resolution into the replication process, a sound selection of the distribution and acceptance methods leads to an eventual convergence of the robot proposals. In order to avoid the execution of conflicting proposals, the last step comprises a decision method, which selects a proposal for implementation in case the conflict resolution fails. The evaluation of our work shows that the usage of incomplete solution techniques of the constraint satisfaction solver outperforms the runtime of other state-of-the-art approaches for many typical robotic problems. We further show by experimental setups and practical application in the RoboCup environment that our decision process is suitable for making quick decisions in the presence of packet loss and delay. Moreover, PROViDE requires less memory and bandwidth compared to other state-of-the-art middleware approaches.

Team Member’s Centrality, Cohesion, Conflict, and Performance in Multi-University Geographically Distributed Project Teams

This study examined team processes and outcomes among 12 multi-university distributed project teams from 11 universities during its early and late development stages over a 14-month project period. A longitudinal model of team interaction is presented and tested at the individual level to consider the extent to which both formal and informal network connections—measured as degree centrality—relate to changes in team members’ individual perceptions of cohesion and conflict in their teams, and their individual performance as a team member over time. The study showed a negative network centrality-cohesion relationship with significant temporal patterns, indicating that as team members perceive less degree centrality in distributed project teams, they report more team cohesion during the last four months of the project. We also found that changes in team cohesion from the first three months (i.e., early development stage) to the last four months (i.e., late development stage) of the project relate positively to changes in team member performance. Although degree centrality did not relate significantly to changes in team conflict over time, a strong inverse relationship was found between changes in team conflict and cohesion, suggesting that team conflict emphasizes a different but related aspect of how individuals view their experience with the team process. Changes in team conflict, however, did not relate to changes in team member performance. Ultimately, we showed that individuals, who are less central in the network and report higher levels of team cohesion, performed better in distributed teams over time.

Creative Reflection in Action

This (Students as Academic Partners) project aimed to explore the potential of a creative approach to reflection. Developing approaches to reflective practice is directly relevant for teachers and those who are training to become teachers. Individual reflections were produced by project participants based on several very short video clips of children in a nursery school. These individual reflections were extended into a collaborative reflection highlighting common themes. This broader focus seeks to contribute to an encompassing discourse related to early years practice. The poster aims to show how critical reflection and speculation can develop an understanding of the child, their development and potential barriers to this development. Through observing stills from the video footage, viewers of the poster are challenged to speculate about the child’s body language, what they might be doing or whether the learning environment is suitable to develop and progress their knowledge and understanding further?

Reducing Social Isolation in a Rural Community Through Participation in Creative Arts Projects

This article reports the initial findings from the evaluation of four creative arts projects involving groups of older people living in a rural community. The purpose of the projects was to reduce social isolation among participants through providing direct access to arts and social activities. The view was that these activities would improve life skills and independence, increase levels of activity and improve the health, wellbeing and quality of life of participants. Evaluation of these projects demonstrated increased levels of self-worth and self-esteem among participants, and many of the older people involved agreed that they had made new friends while having the opportunity to try out a new activity.

Designing Creative Destruction

This research aims to make a contribution in the context of design thinking at a global cultural scale and specifically how design methods are a feature of the homogenising and heterogenising forces of globalisation via creative destruction. Since Schumpeter’s description of economic innovation destroying the old and creating the new, a number of other interpretations of creative destruction have developed including those driving cultural evolution. However a design model showing the impact of different types of design method on cultural evolution can develop an understanding on a more systemic level from the medium to longer term impact of new designs that homogenise or increase the differences between various cultures. This research explores the theoretical terrain between creative destruction, design thinking and cybernetics in the context of exchanging cultural influences for collaborative creativity and concludes with an experiment that proposes a feedback loop between ubiquitising and differentiating design methods mediating cultural variety in creative ecosystems.

Designing Creative Destruction

This research aims to make a contribution in the context of design thinking at a global cultural scale and specifically how design methods are a feature of the homogenising and heterogenising forces of globalisation via creative destruction. Since Schumpeter’s description of economic innovation destroying the old and creating the new, a number of other interpretations of creative destruction have developed including those driving cultural evolution. However a design model showing the impact of different types of design method on cultural evolution can develop an understanding on a more systemic level from the medium to longer term impact of new designs that homogenise or increase the differences between various cultures. This research explores the theoretical terrain between creative destruction, design thinking and cybernetics in the context of exchanging cultural influences for collaborative creativity and concludes with an experiment that proposes a feedback loop between ubiquitising and differentiating design methods mediating cultural variety in creative ecosystems.

Integrated science and art education for creative climate change communication

An interdisciplinary field trip to a remote marine lab joined graduate students from fine arts and natural resource science departments to think creatively about the topic of climate change and science communication. We followed a learning cycle framework to allow the students to explore marine ecosystems and participate in scientific lectures, group discussions, and an artist-led project making abstract collages representing climate change processes. Students subsequently worked in small groups to develop environmental communication material for public visitors. We assessed the learning activity and the communication product using pre- and post-field trip participant surveys, focus group discussions, and critiques by art and communication experts of the products. Significant changes in knowledge about climate change occurred in program participants. Incorporating artists and the arts into this activity helped engage multiple senses and emphasized social interaction, as well as providing support to participants to think creatively. The production of art helped to encourage peer learning and normalize the different views among participants in communicating about climate change impacts. Students created effective communication products based on external reviews. Disciplinary differences in cultures, language, and standards challenged participating faculty, yet unanticipated outcomes such as potentially transformative learning and improved teacher evaluations resulted.

The Creative Unconscious and the Pictorial Sign

Within The Creative Unconscious and Pictorial Sign I explore the dialogue that exists between social language and personal expression to understand how creativity is mediated. I consider how the involuntary inventiveness of artistic creativity and the structuring function of language come to negotiate what artists can experience and represent. My Doctoral practice attempts to question the influence of orthodox postmodernist views and allow sensual and direct experiences to be located within improvisation and spontaneous approaches to image making. I ask if it is possible for a humanistic and psychological interpretation of creativity to move beyond the copy and quotation that some postmodern theories of simulation and the hyperreal advance; but to retain the communicative function of visual expression and the model of a social form of signification instead of naïvely promoting unintelligible and personal languages.