This article is based on five years of longitudinal participatory action research on how former pre‐bachelor programme students with a refugee background experience finding their way into Dutch higher education and society. The four‐member research team and authors (two of which were former refugees), found that refugee students face a significant barrier of “us‐versus‐them,” especially in an educational context. We explored how creative co‐creation contributed to rethinking difference and sameness in higher education by breaking through or transcending this divide. Creative co‐creation through play, storytelling, or constructing artefacts enables “alterity,” approaching the other from the other’s position. Movement and action help to shape the world around us: Connecting and shifting positions creates sameness while leaving space for difference. Creative co‐creation during our research process included making co‐creation artefacts and activities, thus involving outreach to broader audiences for engagement. In the research process, it became clear that successful participation matters to all students and provides more opportunities for all, not just refugee students. A new notion of “we” in Dutch higher education and society that does not perpetuate the divide between “us” and “them” requires a shared responsibility. Higher education needs the university authorities and the teachers to make room for student stories and should provide spaces for dialogue and community development.
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Co-creation as a concept and process has been prominent in both marketing and design research over the past ten years. Referring respectively to the active collaboration of firms with their stakeholders in value creation, or to the participation of design users in the design research process, there has arguably been little common discourse between these academic disciplines. This article seeks to redress this deficiency by connecting marketing and design research together—and particularly the concepts of co-creation and co-design—to advance theory and broaden the scope of applied research into the topic. It does this by elaborating the notion of the pop-up store as temporary place of consumer/user engagement, to build common ground for theory and experimentation in terms of allowing marketers insight into what is meaningful to consumers and in terms of facilitating co-design. The article describes two case studies, which outline how this can occur and concludes by proposing principles and an agenda for future marketing/design pop-up research. This is the peer reviewed version of the following article: Overdiek A. & Warnaby G. (2020), "Co-creation and co-design in pop-up stores: the intersection of marketing and design research?", Creativity & Innovation Management, Vol. 29, Issue S1, pp. 63-74, which has been published in final form at https://doi.org/10.1111/caim.12373. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Use of Self-Archived Versions. LinkedIn: https://nl.linkedin.com/in/overdiek12345
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The second edition of this card set invites you to pause and reflect on what’s really happening in your co-creation practice. Use the cards for a quick one-on-one check-in, a team moment, a larger group session or workshop. Pick a card, read the question out loud, and enjoy the conversation. This card set was developed within the EU-CommuniCity project.
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In this study, we regard co-creation as a collaborative process where students, lecturers and working field professionals from outside the university jointly develop innovative products, processes or knowledge. In co-creation all stakeholders equally contribute to the collaborative process and aim to create beneficial outcomes for each participant. Co-creation can be used as a valuable pedagogical method to support continuous interaction between learning and working in higher education to foster innovation. However, this process is not necessarily mastered by co-creation groups. In order to identify which components of this collaboration process can be further improved, we developed a questionnaire to assess co-creation processes in higher education. Students, lecturers and working field professionals participating in co-creation projects completed the questionnaire. We validated the questionnaire using a principal component analysis. The seven extracted scales proved to be sufficiently reliable. The final questionnaire consists of seven components: positive interdependence, individual accountability, collaboration, shared mental models, safe and supporting conditions, creative community, and group evaluation. We described how the tool can be used in practice.
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Active participation of stakeholders in health research practice is important to generate societal impact of outcomes, as innovations will more likely be implemented and disseminated in clinical practice. To foster a co-creative process, numerous frameworks and tools are available. As they originate from different professions, it is not evident that health researchers are aware of these tools, or able to select and use them in a meaningful way. This article describes the bottom-up development process of a compass and presents the final outcome. This Co-creation Impact Compass combines a well-known business model with tools from design thinking that promote active participation by all relevant stakeholders. It aims to support healthcare researchers to select helpful and valid co-creation tools for the right purpose and at the right moment. Using the Co-creation Impact Compass might increase the researchers’ understanding of the value of co-creation, and it provides help to engage stakeholders in all phases of a research project.
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In Amsterdam we have been working with a diversity of partners in the city for more than a decade now. Our study and research in our research group Cities & Visitors have been focused on the image and reputations of our cities, including the image and reputation of different areas of the city itself. Year after year, we have seen together with our students in different European cities, how somehow intangible concepts truly influence the prosperity and the prospects of those living in different city areas. While some areas have been considered cool and ‘the place to be’ (mostly in the carefully restored older city centers) others suffer from a resilient bad reputation (see especially some neighborhoods in the peripheral areas)However, we have also realized that good and bad reputations do not last forever. Before the covid pandemic, many of the beautiful but overcrowded historical centers had become ‘no-go areas’, according to many residents. Simultaneously, we were also starting to identify clear signals that the reputation of some ‘peripheral’ places that had been considered the ‘worse places’ for years were beginning to be reframed. Operating from one of these peripheral areas in Amsterdam, the Bijlmer in the South East, we had already started to discover the interest, the knowledge and the creativity that slowly but surely had been nesting in Bijlmer, home to people from all over the world. We also realized that many of these areas had also become the home of our university campuses, including student housing. At the same time we also saw that lots of work still needed to be done and that all of the appealing potential was not necessarily visible at first sight. The area has been lacking infrastructure to articulate and put the already existing interest on the map. Challenged by our students, we reflected on our role as a university of applied sciences and decided to put some results of our research into practice. We have started a real life Lab & Café with a number of partners in Amsterdam South East. In the Lab we work on place making, building maps, exploring and documenting in cooperation not only with our students and co-researchers but also (and especially) with many key actors in Bijlmer who believed in and advocated for its potential before others. These experiments and practices respond to the need to develop (by doing) a more polycentric mapping of our cities and to stimulate different views on creativity and creative business initiatives. The work has the extra impact of being part of a consortium of five cities in Europe linked by our project IMAGE. In the Ureka workshop we would love to share with you how Spinoza Imaginaries Lab & Café has enabled us to become better ‘agents of change’ in our campuses. Through a ‘’Yes We Can,’’ approach one finds commonalities and discovers that co-creation is also a matter of commitment and trust and that creativity is inherent to life and belongs to all life phases and facets.
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In the Enabling step it is time to make the dream come true! In order to realize the dream, the diverse stakeholders must be able to interact with one another and have the opportunity to co-create. Platforms, whether live or virtual, facilitate and enable this interaction. They define the general rules of engagement and make data available to the stakeholders. Imagineering calls for this all to be done in a very practical way so as to enable value creation by inspiring collective creativity. You will find definitions and criteria in this chapter that are illustrated with examples. In addition, the concept of co-creation is explained. The building blocks are introduced by looking at the why and the what of the platform. We explain how to build an inspiring platform for a complex system. The chapter ends with a reminder that designing a platform is a never-ending story of curiosity, flexibility, experimentation and reflection.
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Immersive technologies are redefining and revolutionizing the staging of experiences and co-creation of value, implicating the management of customer experiences. However, limited studies have looked at the role of immersive technologies as part of the customer experience management (CXM) process. Incorporating the concepts of experience economy and value co-creation, this study proposes a dynamic CXM framework that highlights the emerging field of immersive technologies like augmented and virtual reality as part of business and marketing research. The framework acts as a guide for researchers and industry practitioners to initiate immersive technology ventures that are rooted in the co-creation and management of customer experiences
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The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
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