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In this study, the authors explore the evolving relationship between artificial intelligence (AI) and poetic creation, with a particular focus on ecopoetics. Beginning with a reflection on Primo Levi’s Il Versificatore, the article addresses the complex challenges posed by AI-generated poetry in terms of authenticity, aesthetic value, and ecological consciousness. The authors examine the historical and philosophical tensions between embodied human authorship and the artificial environments in which AI operates, highlighting how AI lacks the ecological awareness rooted in an embodied oikos necessary for authentic eco-poetic expression. However, they propose an experimental framework for hybrid poetics, wherein AI and human authors collaborate to cocreate poetry within shared creative environments. By investigating the potential and limitations of AI’s role in poetic creation, the study seeks to redefine concepts of authorship and creativity in the digital age, raising critical aesthetic and ethical questions about the future of eco-poetics and its role in an increasingly interconnected and artificial world. [ABSTRACT FROM AUTHOR]

Despite unprecedented demand for digital media skills many digital media graduates struggle to transition into employment because of the gap between university pedagogy and real-world professional practice. Traditionally, studio-based learning has been used to give students authentic experiences of the non-linear, interactive cycle of feedback, reflection and integration that occurs in creative professional practice; however, this approach is hard to implement in asynchronous, online environments and subsequently students miss out on the experience of creative collaboration that can help them to succeed in their future workplace. This study documents a pedagogical alternative where an online digital media capstone project course was redesigned around a formative feedback process using Padlet to facilitate 'work-in-progress' discussions to mirror the cycle of creative collaboration in the workplace. Students' experiences of the formative feedback suggested that it developed both their content knowledge and their collaborative capabilities, with the timely and personal nature of the feedback, coupled with the industry-derived knowledge of the feedback providers, and the use of authentic, workplace relevant-technology, supporting students' confidence to collaborate creatively. The findings can assist researchers, educators and academic developers looking to use authentic, formative feedback as a way of supporting students' creativity, experimentation and collaborative capabilities. [ABSTRACT FROM AUTHOR]

Inspired by academic thinking and practice-based work on creativity and education, and creative approaches in language education, this article is based on outcomes of the project 'Creating Welcoming Learning Environments: Disseminating Arts-Based Approaches to Including All Learners', funded by the UK Arts & Humanities Research Council. The project brought together creative artists specializing in filmmaking, drama, crafting, poetry and the spoken word, textiles and music with teachers in the south-west of England, who collaborated on integrating arts-based practices into language teaching, learning and assessment. The focus of the project was to generate new ways of teaching a) children developing English as an Additional Language (EAL) in mainstream primary, secondary and special schools and b) all children in schools where there is a commitment to building an ethos of inclusion and diversity in relation to languages and cultures. The article reports on how co-operative, collaborative workshops were used to bring teachers, creative artists and researchers together in a way which valued everyone's knowledge and expertise. A thematic analysis of data from evaluation interviews undertaken with the participating teachers is provided and the potential for workshop-based professional development opportunities as a way of achieving creative collaboration in schools is discussed. [ABSTRACT FROM AUTHOR]

In this audiovisual essay, four practitioner-academics seek to identify and address the need to reimagine queer screen production. Traditional heteronormative storytelling dominates the screen production landscape, necessitating a challenge to create more inclusive and diverse narratives. Through the creation of a manifesto essay film, the researchers collectively reflect on their creative practices, synthesize their approaches, and develop a new vision for queer screen production. The result demonstrates the value of embracing: sustainable practices, queer kinship-making as filmmaking, alternatives to hegemonic forms, queer shame, queer failure, eternal adolescence, and the disruption of the ever-forward momentum (among other approaches). Manifesto-making as a method encourages creative practitioners to question the status quo of screen production contexts and strategies, and to think critically about the storytelling norms in broader creative practice. The researchers argue that such an approach can enable creative practitioners to pave the way for new, innovative collaborations and contribute to a more inclusive and diverse creative landscape. This film enacts the opportunities that arise when considering the spectrum of screen production in broader, ‘queerer’, ways, through notions of kinship-making, polyphony and the ‘queer art of failure’ (Halberstam 2011). The disruption of dominant narrative models can be considered in the context of queer theory’s critiques of heteronormative temporality, asking how queer approaches to narrative construction might challenge the heteronormative markers of success and happiness, or what Elizabeth Freeman calls ‘chrononormativity’ (2010). Using ‘manifesto as method’, the film combines the authors’ separate practices in filmmaking, screenwriting, mobile media and documentary in ways that deviate from mainstream categorisations, production hierarchies and workflows.

Amidst China's robust push for aesthetic education reform, the emphasis on interdisciplinary and cross-specialty collaboration necessitates alterations to traditional collaboration frameworks, presenting fresh challenges for leadership. While most of today's schools have documented the closely knitted relationship between leadership and teacher collaboration in educational settings, very few attempts have been made to explore what competencies college leaders employ to infuse creative collaboration into the organizational culture and how this creative collaboration affects teachers' work, especially under the aesthetic education reform in China. This research used qualitative case study and thematic analysis to explore leaders' competencies to promote creative collaboration in the organizational culture. This case study involved 10 participants from one College of Fine Arts in Henan, China, selected through purposeful sampling. Data were collected through 16 semi-structured interviews and the review of relevant documents. Findings reveal that the college dean employs an integrated leadership approach to foster positive creative collaboration among teachers. Findings were organized into the following themes: (i) Clear and decisive, collaboration-oriented organizational decision-making and guidance mechanisms; (ii) People-centric mindset: Fostering open and honest communication, creating a trusting environment; (iii) Maintenance and practice of integrity and responsibility; and finally (iv) Creating resources supporting and common goals to ignite teachers' passion for collaborative engagement. Valuable guidance in the leadership model for fostering positive teacher-creative collaboration for leaders in Chinese aesthetic education reform is provided based on these findings. [ABSTRACT FROM AUTHOR]

The relative paucity of research on directing reflects the way in which the practice of directing occurs – behind closed-doors (Trousdell 1992). Despite the power afforded to directors, the literature is often comparatively silent on how a director leads a production. Whilst delineating the role of the director can be problematic, the training of directors is a minefield. Unlike actor training where a myriad of theories and methods guide us, the dearth of pedagogical frameworks for teaching directors has resulted in an ad hoc approach at best. Two case studies, conducted by the authors, within the context of conservatoire actor training, formed the basis for research exploring how leadership and creative collaboration could influence directorial practice. This article argues that a significant, and often overlooked aspect of director training is leadership and explores ways in which it can inform director training curriculum. Global #movements over the past five years have forced universities and conservatoires to consider the voices of marginalised and excluded students. By embedding leadership pedagogy into director training there is the potential to create a 'brave new world' where actor efficacy and creative collaboration are the vanguard that take directors into a post pandemic world. [ABSTRACT FROM AUTHOR]

In both content and form, the comic 'Closure', written by Laura Findlay and illustrated by Zuzanna Dominiak, advances a notably complex view of the subject of trauma, and of the way comics can best portray this subject. Far from offering straightforward, easily summarized data on trauma, the creators enact a conflict between word and image, and between writer and illustrator, to explain how and why the topic of trauma resists easy summary, and to present comics as a powerful medium for expressing this complexity. Referencing the work of Art Spiegelman, especially his use of gag humour and satire, 'Closure' claims a place for comics, not as an easy way to absorb difficult information, but precisely as a way to capture and amplify its difficulty. [ABSTRACT FROM AUTHOR]

This article explores the motivations, approaches and results that occurred when six composers/musicians devised works of experimental music that involved community participants over six years at the annual classical Tyalgum Music Festival in regional Australia. The main aim of this study was to investigate how this music was shaped by community participation in its creation and performance. This qualitative research study drew on retrospective interviews with the musicians involved and the author's observations and reflections on their music events. The musicians discussed how they responded to people and place in creating and performing their works; they maintained that their involvement with the community resulted in valuable and creative music-making. This study demonstrates that artists can inspire interesting and enjoyable music-making with a community that also expands the possibilities for mainstream arts, cultural practices and festival curation. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of communication between Mykola Lysenko-conductor and amateur singer Yakiv Hulak-Artemovskyi. Research methodology. The following methods have been used in the research: exploratory, analysis and generalisation method to reveal the communication of the eminent master with this specific member of the choir, based on the latter's memories and epistolary. Scientific novelty of the research. The article reveals for the first time certain aspects of Mykola Lysenko's work with the choir and the conductor's collaboration with the amateur singer Yakiv Hulak-Artemovskyi, his faithful assistant, who became the "right hand" of the conductor. Conclusions. Yakiv Hulak-Artemovskyi is a person from Mykola Lysenko's circle, extremely responsible and devoted. Understanding Mykola Lysenko's business, his impracticality in financial affairs, at the same time his great love for his native people and cheering for their future, he agreed to become a voluntary assistant of the artist. The relationship of Mykola Lysenko - an outstanding Ukrainian composer and conductor, with Yakiv Hulak-Artemovskyi - an amateur singer and choir manager must be a model of deep respect, tolerance, and an example of devoted service to the cause of Ukrainian choral art. The creative tandem of these caring personalities contributed to coordinated and successful work of the choir, preparation of concert programmes, organisation of tour trips, and the popularisation of the native song among the Ukrainian population. Mykola Lysenko and Yakiv Hulak-Artemovskyi were Ukrainian patriots, highly spiritual personalities, and hardworking people who defended the right of the people to be treated with dignity within or under the conditions of the colonialist policy of the Russian Empire: Mykola Lysenko as a defining cultural figure, whereas Yakiv Hulak-Artemovskyi was an average, but dedicated representative of Ukrainian citizenship. Both faithfully served their native people and the Ukrainian culture. Yakiv Hulak-Artemovskyi respected Mykola Lysenko as a talented artist, admired him as a personality, as well as, his ability to maintain independent views, even in the most difficult times. In turn, Mykola Lysenko valued Yakiv Hulak-Artemovskyi as a singer and head of the choir, and as a reliable assistant and adviser. [ABSTRACT FROM AUTHOR]

Although the purpose of schools can be (and has been) debated, one common goal that most people agree upon is that schools can and should play a role in preparing young people for the complexities of the future. This goal is somewhat paradoxical in that the future is unknown. So how might schools prepare young people for the unknowable? The prototypical response has been to design learning experiences based on what is already known in the hope that the knowledge, skills, and experiences in school will be durable enough to equip students for navigating the complexities of the problems they will encounter in the future. Consequently, most of what students learn in schools is predetermined. Although we recognize that some of these experiences can be beneficial for helping students in the future, we assert in this concept paper that schools can (and need to) get smarter about the kinds of educational experiences that students engage with if we are to prepare them for addressing the uncertainty of complex problems that they face now and into the future. More specifically, we open this concept paper by briefly discussing the prototypical curricular experience that schools provide young people and how these experiences sometimes fall short in providing students with the opportunities, experience, and confidence necessary to creatively engage with, resolve, and communicate about their experiences addressing complex problems. We then introduce a collaborative creative curricular experience called Journalistic Legacy Challenges (JLC). JLCs can support students in learning how to identify, address, document and communicate about complex problems that can make a difference in their communities and in their own and others' lives. The experiences offered by JLCs differ from prototypical learning experiences because they require young people to identify problems that matter to them, collaborate with skilled others to address those problems, develop their creative confidence, and learn how to use journalistic learning to document and communicate about their work to broader audiences. [ABSTRACT FROM AUTHOR]

This case study explores creative prerequisites in the innovation of a new television genre, Slow-TV, produced by the Norwegian Television NRK Hordaland. In-depth interviews were conducted with three key persons creating the television show. The outcome of the article resonates with Amabile's (1998) research on organizational creativity and suggests individual freedom, sufficient resources, supportive leadership, but also individual creative space and time are requisites for creativity to happen. Passion among the persons driving the idea forward supports creativity, as well as trust and a psychologically safe environment between the persons developing the idea and the management. This research may be a useful contribution regarding the creative press for collaborative innovation and it aims to be useful for practitioners of television when innovating audiovisual content.

To profit from crowdsourcing, organizations can engage in four different approaches: microtasking, information pooling, broadcast search, and open collaboration. This article presents 21 governance mechanisms that can help organizations manage their crowdsourcing platforms. It investigates the effectiveness of these governance mechanisms in 19 case studies and recommends specific configurations of these mechanisms for each of the four crowdsourcing approaches. Also, it offers guidance to organizations that host a crowdsourcing platform by providing recommendations for implementing governance mechanisms into their platforms and building up governance capabilities for crowdsourcing. [ABSTRACT FROM AUTHOR]

As the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged, but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful. This article explores the origins of trauma-informed practice as well as providing an example framework from the York St John University Prison Partnership Project. A literature review of community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners; (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish. [ABSTRACT FROM AUTHOR]

This article introduces the special issue on the increasing role of cities as a driver for (open) innovation and entrepreneurship. It frames the innovation space being cultivated by proactive cities. Drawing on the diverse papers selected in this special issue, this introduction explores a series of tensions that are emerging as innovators and entrepreneurs seek to engage with local governments and citizens in an effort to improve the quality of life and promote local economic growth. [ABSTRACT FROM AUTHOR]

This article presents a clinical study, based on a decade of ongoing research at Samsung Group, that describes how the Samsung Group and its mobile phone division competed successfully in smartphones. The ability to manage co-opetition--simultaneous forces of competition and cooperation within the business group--is a particular dimension of dynamic capability that has stood Samsung in excellent stead. Relying on internal exhortations to cooperate often leads to a lack of dynamism, whereas untrammeled competition leaves proverbial synergies entirely untapped and spawns duplicative investments. Samsung, however, has succeeded by its ability to strike a balance between the two. [ABSTRACT FROM AUTHOR]

The dynamic capabilities framework identifies three components as critical for successful organizational adaptation: sensing, seizing and transforming. By contrasting two distinct business cases, a long-term biofuel investment by DuPont and Novartis's rapid deployment of digital technologies in marketing, this article assesses the managerial implications of each of these components. It develops an embryonic contingency model that illustrates why the relative importance of dynamic capabilities varies across firms. The article also highlights the critical role played by strategic leaders, who must selectively adapt and refine dynamic capabilities and also serve as a last line of defense in times of rapid change. [ABSTRACT FROM AUTHOR]

This article develops a conceptual integration of the dynamic capabilities and ambidexterity perspectives in order to understand how firms adapt to discontinuous change. Based on three illustrative case studies, it demonstrates that it is not possible to identify a universal set of dynamic capabilities. Rather, the distinct set of capabilities required depends on which of three modes of adaptation (structural separation, behavioral integration, or sequential alternation) has been prioritized. This article contributes a contingency perspective to dynamic capability research and offers guidance to managers about the alternative approaches they could take when seeking to adapt to environmental discontinuities. [ABSTRACT FROM AUTHOR]

The study’s objective was to analyze the corroborating elements of a Thai student teacher’s (TST) learning innovation as perceived through the expertise of their teachers. Therefore, from 12 Thai teaching universities (Rajabhats) located across four Thai regions, multiple sampling techniques were used to select a sample of 151 teaching professionals. The research instrument was a questionnaire using a 5-level scale to assess the opinions on the four latent and 12 observed variables. The results showed that of the three latent variables analyzed that contributed to TST learning innovation (IN), learning innovation use (US) were perceived as most important, followed by the learning innovation development process (DE) and then the TST’s creative collaboration (CO) abilities, respectively. Finally, all the observed variables were determined to be compatible with TST innovation learning at a ‘high’ level. [ABSTRACT FROM AUTHOR]

Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be “distributed” between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary “laboratories” of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings.

Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be "distributed" between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary "laboratories" of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings. [ABSTRACT FROM AUTHOR]

Crowdsourcing for innovation is typically conducted as an "innovation challenge." Despite the popularity of innovation challenges, there appears to be a growing consensus that innovation challenges do not succeed at generating solutions with competitive advantage potential. This article presents three ways in which managers can assure that their innovation challenges are fruitful: foster different crowd roles to encourage contribution diversity; offer knowledge integration instructions and dual incentives; and offer explicit instructions for sharing different types of knowledge. [ABSTRACT FROM AUTHOR]

Co-creation is a rapidly emerging area of research. However, there is a lack of understanding as to how organizations use co-creation to build relationships and generate value. How does participation emerge and what outcomes does it deliver? To generate insight into the co-creation process, we created an online brand community. Our findings show that people participate in a community because it offers them the chance to find fulfillment, to express their creativity, and to socialize. The findings have significant implications for marketing, branding, and research professionals because the research shows that managers have to see participants as integral to the brand. [ABSTRACT FROM AUTHOR]

This paper is a conceptual contribution to an ongoing debate on how to advance creativity within the context of creativity labs. This paper aims to investigate the conceptual dynamics of a creativity lab that "trespass" the boundaries of a creativity-enabling physical facility and steps further into virtual online spaces and individual lifestyles at large. In turn, this paper is a conceptual analysis on how to conceptualize and extend the concept of a creativity lab towards its wider and further implications. Based on literature review on creativity labs, the objective of this paper is to provide guidelines and implications on how to extend the definition of a creativity lab beyond the boundaries of physical facilities. As recent research abounds in different factors and elements stimulating creativity in creativity labs, this paper aims to distinguish and conceptualize three basic functional trajectories of creativity labs: a creativity lab as a collaborative space, a creativity lab as an inspirational space, and a creativity lab as a creatively facilitated space. [ABSTRACT FROM AUTHOR]