Empower me : social innovation design for homeless families : collective design creativity

Design Creativity has largely been explored as an individual expression of design cognition rather than as the collective manifestation of interaction in context. Recent approaches to design with an emphasis on co-design suggest that the problem-solution space co-evolves through social interaction. Socially Responsive Design for Social Innovation constitutes the most recent and perhaps the most promising domain of application for design thinking practices that emphasize collaborative innovation. In this paper, we describe the ideation of a service design solution for homeless families (Em.power.me), developed through consultation with a range of stakeholders over a three month period. This service design innovation aimed to visualise how such a service would operate and identify the potential benefits for all stakeholders. We focus here on the phases leading to the ideation of the service design.

Cultivating creative ecologies : creative teaching and teaching for creativity

Australian universities now commonly list creativity amongst the generic attributes that graduates are expected to have achieved or demonstrated upon graduation. While this reflects emerging local and global trends to encourage creativity at every educational level, creativity as a generic capability has special difficulties. These include problems of definition, its perceived value, the gap between espoused beliefs and practice, and tensions between standards and accreditation agendas and the desire to embed creative outcomes in the curriculum. Contextual and disciplinary differences also shape the expression of creative teaching and teaching for creativity. This paper explores these issues, acknowledging the role of information and communications technologies in shaping the technology-enhanced learning spaces where creativity may emerge. Csikszentmihalyi’s model of creativity as a system of interactions is presented as a useful foundation for furthering the discourse in this domain, along with the notion of creative ecologies as spaces for effecting change.

Approaches to creativity : how adolescents engage in the creative process

Despite growing recognition of creativity's importance for young people, the creativity of adolescents remains a neglected field of study. Hence, grounded theory research was conducted with 20 adolescents from two Australian schools regarding their self-reported experiences of creativity in diverse domains. Four approaches to the creative process – adaptation, transfer, synthesis, and genesis – emerged from the research. These approaches used by students across a range of domains contribute to the literature in two key ways: (a) explaining how adolescents engage in the creative process, theorised from adolescent creators’ self-reports of their experiences and (b) confirms hybrid theories that recognise that creativity has elements of both domain-generality and domain-specificity. The findings have educational implications for both students and teachers. For students, enhancing metacognitive awareness of their preferred approaches to creativity was reported as a valuable experience in itself, and might also enable adolescents to expand their creativity through experimenting with other ways of engaging in the creative process. For teachers, using these understandings to underpin their pedagogies can promote metacognitive awareness and experimentation, and also provide teachers with a framework for assessing students’ creative processes.

Retooling Asian-Pacific teachers to promote creativity, innovation and problem solving in science classrooms

This paper reports on a Professional Learning Programme undertaken by primary school teachers in China that aimed to facilitate the development of ‘adaptive expertise’ in using technology to facilitate innovative science teaching and learning such as that envisaged by the Chinese Ministry of Education’s (2010–2020) education reforms. The study found that the participants made substantial progress towards the development of adaptive expertise manifested not only by advances in the participants’ repertoires of pedagogical content knowledge but also in changes to their levels of confidence and identities as teachers. By the end of the programme, the participants had coalesced into a professional learning community that readily engaged in the sharing, peer review, reuse and adaption, and collaborative design of innovative science learning and assessment activities. The findings from the study indicate that those engaged in the development of Professional Learning Programmes in Asia-Pacific nations need to take cognizance of certain cultural factors and traditions idiosyncratic to the educational systems. This is reflected in the amended set of principles to inform the design and implementation of professional learning programmes presented in the concluding sections of the paper.

New directions for digital video creation in the classroom : spatiality, embodiment, and creativity

This column features a conversation (via email, image sharing, and Facetime) that took place over several months between two international theorists of digital filmmaking from schools in two countries—Professors Jason Ranker (Portland State University, Oregon, United States) and Kathy Mills (Queensland University of Technology, Australia). The authors discuss emerging ways of thinking about video making, sharing tips and anecdotes from classroom experience to inspire teachers to explore with adolescents the meaning potentials of digital video creation. The authors briefly discuss their previous work in this area, and then move into a discussion of how the material spaces in which students create videos profoundly shape the films' meanings and significance. The article ends with a discussion of how students can take up creative new directions, pushing the boundaries of the potentials of classroom video making and uncovering profound uses of the medium.

Collaborative practices that support creativity in design

Design is a ubiquitous, collaborative and highly material activity. Because of the embodied nature of the design profession, designers apply certain collaborative practices to enhance creativity in their everyday work. Within the domain of industrial design, we studied two educational design departments over a period of eight months. Using examples from our fieldwork, we develop our results around three broad themes related to collaborative practices that support the creativity of design professionals: 1) externalization, 2) use of physical space, and; 3) use of bodies. We believe that these themes of collaborative practices could provide new insights into designing technologies for supporting a varied set of design activities. We describe two conceptual collaborative systems derived from the results of our study.

The creativity imperative : implications for education research

Arguing for the importance of understanding the conditions under which certain forms of the social subject become visible and viable, this chapter conceptualises the current educational focus on ‘creativity’ as a technology of governmentality that has arisen from the perceived need for governing authorities to manage and responsibilise populations for the pervasive uncertainties of the global economy. With reference to the document, Tough Choices or Tough Times, a publication of the National Center on Education and the Economy in the United States, we show how creativity has been reframed as a programmable capacity of the modern student, citizen and worker primarily because it is considered an indispensible source of enterprise and innovation. Education and family life are an integral part of this bio-politics and the ongoing ‘economisation’ of social life. Our concern is that this reductionist understanding of creativity precludes other transgressive and culturally enriching creativities that represent the infinite range of subjectivities associated with imaginative human capacity and activity. It is vital therefore that educational research renders this historical process transparent and opens spaces for more socially inclusive, sustainable and productive ways of being such as those indicated by the three respondees.

Reimagining Creativity : Critically, Ethically, and Practically

True creativity sits in stark contrast with global trends to standardise education systems. It is, though, an attractive semantic and conjures up all sorts of positives. However none of the positive potentials of the creativity push are likely to materialise while process-oriented bureaucratic understandings of creativity dominate curriculum policy and development. Creativity requires pedagogy to forego substantial levels of control. It also requires ethical content because “creative” is an empty epithet, applying equally to the creation of beautiful music as it does to the creation of a nuclear weapon. In responding to Kapitzke and Hay, this chapter outlines the stark contradictions embedded in the creativity push.

Queensland teachers' conceptions of creativity : a phenomenographic investigation

This study investigated conceptions of creativity in a group of Queensland teachers. The analysis of interview data produced precise descriptions of seven categories of meanings of creativity, delimiting the range and variance of meanings expressed. The study provides evidence of two distinct ways of experiencing and defining creativity. As a result the researcher was able to propose further research directions to extend educational understanding of creativity and recommended using the present study findings to strengthen policy and training measures for the Australian Curriculum focus on building creative capital.

Postcards from somewhere : ‘marginal’ cultural production, creativity and community

This paper focuses on a case study of local postcard production in a rural community in Western Australia. Drawing on in-depth interviews with key producers of these postcards, the analysis presented explores perceptions of and contexts for the emergence of this production, in turn examining the notion of ‘creativity’ articulated and privileged by this cultural work. Connections are identified between the making of postcards, the broader historical field of local cultural work and the construction of community. This, in turn, forms the basis for consideration of the role and relativity of ‘marginality’.

Managing creativity on the margins : a comparative study of Beijing’s Songzhuang Art District and Hangzhou’s White Horse Lake Creative Eco-City

In the past decade the ‘creative cluster’ has become a driver of urban renewal in China. Many cluster developments attract human capital and investment to post-industrial spaces. This paper looks at two developments which are more post-agricultural than post-industrial: the first is Songzhuang, a large scale contemporary art community situated on the eastern fringe of Beijing, the second is Hangzhou’s White Horse Lake Creative Eco-City, a ‘mixed variety’ cluster model which integrates elements of art, fashion, design and animation. The common factor in both cases is how they came into existence. In both districts urban creative workers moved into a rural environment. Drawing on interviews with planners, officials, and residents we investigate the challenges of sustaining such fringe clusters.

Engaging creativity through an action learning and action research process to develop an Indigenous art exhibition

In most art exhibitions, the creative part of the exhibition is assumed to be the artworks on display. But for the Capricornia Arts Mob’s first collective art exhibition in Rockhampton during NAIDOC Week in 2012, the process of developing the exhibition became the focus of creative action learning and action research. In working together to produce a multi-media exhibition, we learned about the collaborative processes and time required to develop a combined exhibition. We applied Indigenous ways of working – including yarning, cultural respect, cultural protocols, mentoring young people, providing a culturally safe working environment and sharing both time and food – to develop our first collective art exhibition. We developed a process that allowed us to ask deep questions, engage in a joint journey of learning, and develop our collective story. This paper explores the processes that the Capricornia Arts Mob used to develop the exhibition for NAIDOC 2012.

Creativity management : the new challenge for BPM

Besides classical criteria such as cost and overall organizational efficiency, an organization’s ability to being creative and to innovate is of increasing importance in markets that are overwhelmed with commodity products and services. Business Process Management (BPM) as an approach to model, analyze, and improve business processes has been successfully applied not only to enhance performance and reduce cost but also to facilitate business imperatives such as risk management and knowledge management. Can BPM also facilitate the management of creativity? We can find many examples where enterprises unintentionally reduced or even killed creativity and innovation for the sake of control, performance, and cost reduction. Based on the experiences we have made within case studies with organizations from the creative industries (film industry, visual effects production, etc.,) we believe that BPM can be a facilitator providing the glue between creativity management and well-established business principles. In this article we introduce the notions of creativity-intensive processes and pockets of creativity as new BPM concepts. We further propose a set of exemplary strategies that enable process owners and process managers to achieve creativity without sacrificing creativity. Our aim is to set the baseline for further discussions on what we call creativity-oriented BPM.