Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
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These are hard days for companies: they have to survive in a market that has been hit by a financial crisis. Many countries in Europe have severe problems trying to overcome this financial crisis. The main remedy applied by governments is to cut back on expenditure, but on the other hand it is said that it is important for a country, and especially for companies, to invest in innovation. These innovations should lead to innovative products that will lead to profitability turnovers for these companies and, as a consequence, improve the economic conditions in a country. Universities provide students with engineering competences, like develop innovation, with which they can show a higher degree of ability to answer complex questions such as how to become players in the market again. Teaching students to become more innovative engineers, Fontys University of Applied Sciences, Department of Engineering, has designed a curriculum in which students are educated in the competence innovation. An important element in the process of teaching innovation to students is the approach of inquiring into possibilities of patents. In the second semester of the first year, students can decide to join an innovative project called: ‘The invention project’. The basis of this project is that students are given the opportunity to create their own invention and with their previously acquired knowledge and skills they design, calculate, prototype and present their invention. In a research project, the experiences of students in this Invention Project have been analysed. The goal of this study was to understand what the success factors are for such a project. The basis of this inquiry is a questionnaire to identify the opinions of students. The research was carried out in the spring semester of 2012. In total 31 students were involved in this research. The results show that there was a high degree of student satisfaction about the Invention Project focused on innovation development. Success factors for this project in the first year of the curriculum were seen: 1 to work on own inventions, 2 development of student’s perception of the total product creation process and 3 to make students see the relevance of contacts with real professionals from industry and from the patent office in their own project. Improvements can be made by: 1 helping students more during the creativity stage in the project and 2 to coach them more on the aspect of engineering a successful invention of which they can be proud. This Invention project is an interesting with which collaborations with other universities can be set up.
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Different unexpected combinations between industry, local government, private participants, educational institutes and artists resulted past year in challenging opportunities for transitions in urban and rural areas. The power of art with the perspective of the artist approaching challenges evokes a chain of thoughts and (cascading) events, affecting systems. This results not only in innovative sustainable social &industrial products but also in change of systems. Panarchy is the paradigm of transition and change (Holling). Panarchy is interaction of countless interconnected and nested complex adaptive systems. Panarchy is the paradigm where small actions can have major effects for good or worse. It is to expect the unexpected. Panarchy holds the promise of positively changing the anthropocene. By being prepared we can anticipate upon unexpected emerging phenomena which can be used as leverage for creating change. SDG-labs are the environment where we can experiment and create new resilient concepts for adaptation to the antropocene. SDG-Labs have two aspects, the first is creation of concepts for change within the lab-setting, its content; the second is the process of organisation of the lab within its environmental and societal context. The Lab itself can be regarded as a complex adaptive system while the organisation of the SDG-Lab is within panarchy, acting on multiple levels and on different scales. Both faces, content and context, of the SDG lab have their own emerging properties. For facilitation of the SDG-lab we organised workshops where creative methods based upon TRIZ ("Theory of inventive problem solving") and CPS (Creative Problem Solving) were applied. TRIZ makes use of pre-established thinking patterns and proven abstract solutions to sets of abstract problems. TRIZ provides a toolbox for solving complex (wicked) problems. TRIZ uses the heuristics of intrinsic technological and societal evolution once a concept emerges. CPS is used for application of the TRIZ toolbox, by making concrete problems abstract and abstract solutions, concrete. TRIZ and CPS makes use of analytical and design thinking. Results of these workshops are emerged pre-concepts which have the potential to create change. Contextual settings of the SDG-lab determine its rate of success. Many good ideas perish in the “valley of death”, before they can realise their full potential. The contextual setting determines acceptance and hence increases probability of idea realisation. The action of organising SDG-labs generates curiosity, enthusiasm, resistance and other emotions with people and organisations. This lead to disturbances in panarchy, which is rendered in emerging opportunities that can be seized by imaginative people. Sarasvathy and Simon (2000) coined for this approach the concept of effectuation as an entrepreneurial principle for seizing opportunities which emerge from entrepreneurial actions in contrast to causation where managerial thinking obscures seeing opportunities. Effectuation is actor dependent where given specific means, choice of effect is driven by characteristics of the actor and his or her ability to discover and use contingencies. This approach is also recognised in innovation theory where the concept of “exaptation” is explored. Exaptation is the attribution of a new functionality to an existing artefact (or organization, scientific achievement, or
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This book seeks to communicate what we learned, what I learned, in the hope that readers (particularly musicians in training) can find ways to learn for themselves as they challenge themselves to try new, and different, things.
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From the article: Abstract. This exploratory and conceptual article sets out to research what arguments and possibilities for experimentation in construction exists and if experimentation can contribute towards more innovative construction as a whole. Traditional, -western- construction is very conservative and regional, often following a traditional and linear design process, which focuses on front-loaded cost savings and repetitive efficiency, rather than securing market position through innovation. Thus becoming a hindrance for the development of the sector as a whole. Exploring the effects of using the, in other design-sectors commonly and successfully practiced, “four-phased iterative method” in architectural construction could be the start of transforming the conservative construction industry towards a more innovative construction industry. The goal of this research is to find whether the proposed strategy would indeed result in a higher learning curve and more innovation during the - architectural- process. Preliminary research indicates that there is argumentation for a more experimental approach to construction.
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This study focuses on SME networks of design and high-tech companies in Southeast Netherland. By highlighting the personal networks of members across design and high-tech industries, the study attempts to identify the main brokers in this dynamic environment. In addition, we investigate whether specific characteristics are associated with these brokers. The main contribution of the paper lies in the fact that, in contrast to most other work, it is quantitative and that it focuses on brokers identified in an actual network (based on both suppliers and users of the knowledge infrastructure). Studying the phenomenon of brokerage provides us with clear insights into the concept of brokerage regarding SME networks in different fields. In particular we highlight how third parties contribute to the transfer and development of knowledge. Empirical results show, among others that the most influential brokers are found in the nonprofit and science sector and have a long track record in their branch.
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The term crowdsourcing was introduced by Jeff Howe (2006). It is the act of a company or organisation to take a function once performed by employees and outsourcing it to an undefined, and usually large, network of people in the form of an open call. As communication tools to organize work have become widely available, and a well-educated global work force has come online, crowdsourcing has become an increasingly important mechanism to organize work. We discuss a categorisation of crowdsourcing, its costs and benefits and several examples. The use of crowdsourcing begins with the question which strategic goal an organisation wants to achieve, and whether the benefits outweigh the costs. We give some recommendations for adopting crowdsourcing. This usually requires a certain amount of restructuring of existing workflows and a willingness to become more open which may or may not be a welcome side effect.
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This manifesto describes the notion of sustainable development according to its basic appeal for economic, social and environmental value-creation, together with the implications of its meaning at the level of the individual (the manager), the organisation (the business) and society. As sustainable tourism is focused on the long term, foresight is used to develop four scenarios for a sustainable tourism industry in 2040: “back to the seventies”, “captured in fear”, “unique in the world”, and “shoulders to the wheel”. The implications of the scenarios are mapped for four distinct types of organisational DNA: the blue organisation focusing on quality, professionalism and efficiency, the red organisation for whom challenge, vision and change are most important, the yellow organisation addressing energy, optimism and growth, and the green organisation which is led by care, tradition and security. The manifest concludes with strategic propositions for tourism organisations in each of the four business types and each of the four scenarios.
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Described are a number of national and local initiatives that are taken to motivate young people to choose for technical education. From the local initiatives we focus on the area where Fontys and Actemium are located; the southeast of the Netherlands. Not only governmental organizations and foundations are active in this field but also (industrial) companies become more aware of the fact that creating interest for professions in technology should start at the earliest possible age. History shows that initiatives become more effective when not only directed to promotion, but accompanied by appropriate projects. We conclude with an example of a technology event and a discussion of the effectiveness of the initiatives.
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This chapter will introduce the circular economy (CE) and Cradle to Cradle (C2C) models of sustainable production. It will reflect on the key blockages to a meaningful sustainable production and how these could be overcome, particularly in the context of business education. The case study of the course for bachelor’s students within International Business Management Studies (IBMS), and at University College in The Netherlands will be discussed. These case studies will illustrate the opportunities as well as potential pitfalls of the closed loop production models. The results of case studies’ analysis show that there was a mismatch between expectations of the sponsor companies and those of students on the one hand and a mismatch between theory and practice on the other hand. Helpful directions for future research and teaching practice are outlined. https://www.springer.com/gp/book/9783319713113#aboutBook https://www.linkedin.com/in/helenkopnina/
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