Combining the power of online crowdsourcing with creative writing user interfaces

The goal of this work was to provide professional and amateur writers with a new way of enhancing their productivity and mental well-being, by helping them overcoming writers block and being able to achieve a state of optimal experience while writing. Our approach is based on bringing together different components to create what we call a creative moment. A creative moment is composed by an image, a text, a mood, a location and a color. The color presented in the creative moment varied according to the mood that was associated to the creative moment. With the creative moments we hoped that our users could have a way to easily trigger their creativity and have a kick start in their work. The prototyping of a web crowdsourcing platform, named CreativeWall, and a Microsoft Word Add-In, that was used on the user study performed, is described and their implementations are discussed. The user study reveals that our approach does have a positive influence in the productivity of the participants when compared with another existing approach. The study also revealed that our approach can ease the process of achieving a state of optimal experience by enhancing one of the dimensions presented on the Flow Theory. At the end we present what we consider would be some possible future developments for the concept created during the development of this work.

Creative militancy, militant creativity and the new student movement

The practical significance of critical theory, and student action leading to the hope of a new education, and a new politics.

Creating innovation in small and medium-sized enterprises:evaluating the short-term effects of the creative credits pilot

This working paper looks at the short-term impact of the Creative Credits pilot scheme which operated in the Manchester City Region in the North West of England from September 2009 to September 2010, and was funded by NESTA, Manchester City Council, the North West Development Agency, the Economic and Social Research Council (ESRC) and the Arts and Humanities Research Council (AHRC). Creative Credits is a business-to-business (B2B) voucher mechanism designed to encourage small and medium-sized enterprises (SMEs) to work innovatively with creative companies. Businesses receive credits worth £4,000, which they must match with at least £1,000, to spend with creative firms on a variety of creative services.

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

Presentation of an abstract

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

Evaluationg the economic impact of the "sounds like Birmingham" music festival

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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).

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.

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.