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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We De Try: Creative Methods of Storylistening and Storytelling tells the story of a research journey the author underwent in trying to gain a better understanding of diversity and inclusion in higher education. Through insights generated by the exploration of methods of storytelling and storylistening, the research problematises using stories as tools for diversity and inclusion in higher educational institutions. In order to be transformed by that which emerges (storylistening) in a manner that is non-extractive, avoids reinforcing existing power imbalances, and recognises that stories transcend time and space asks for exploring questions relating to practicing care, generosity, and honouring and catering to different needs.
There is an urgent need to engage with deep leverage points in sustainability transformations—fundamental myths, paradigms, and systems of meaning making—to open new collective horizons for action. Art and creative practice are uniquely suited to help facilitate change in these deeper transformational leverage points. However, understandings of how creative practices contribute to sustainability transformations are lacking in practice and fragmented across theory and research. This lack of understanding shapes how creative practices are evaluated and therefore funded and supported, limiting their potential for transformative impact. This paper presents the 9 Dimensions tool, created to support reflective and evaluative dialogues about links between creative practice and sustainability transformations. It was developed in a transdisciplinary process between the potential users of this tool: researchers, creative practitioners, policy makers, and funders. It also brings disciplinary perspectives on societal change from evaluation theory, sociology, anthropology, psychology, and more in connection with each other and with sustainability transformations, opening new possibilities for research. The framework consists of three categories of change, and nine dimensions: changing meanings (embodying, learning, and imagining); changing connections (caring, organizing, and inspiring); and changing power (co-creating, empowering, and subverting). We describe how the 9 Dimensions tool was developed, and describe each dimension and the structure of the tool. We report on an application of the 9 Dimensions tool to 20 creative practice projects across the European project Creative Practices for Transformational Futures (CreaTures). We discuss user reflections on the potential and challenges of the tool, and discuss insights gained from the analysis of the 20 projects. Finally, we discuss how the 9 Dimensions can effectively act as a transdisciplinary research agenda bringing creative practice further in contact with transformation research.
The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
Every organisation needs to have organised Company Emergency Response (CER) staff. The training of CER must combine knowledge acquisition with knowledge application in performing physical procedures and demonstrating skills. However, current training does not secure well-prepared CER-staff in the long term. Playful learning is that a more engaging type of training can be created which combines knowledge with skills training. But while social interactions can strongly and positively impact learning as well as motivation, this is not easily facilitated within digital learning environments Two questions are particularly important for playful learning designers: • How can playful learning make use of the combination of digital and non-digital working mechanisms to foster learning and motivation? • How can trainees learn and play together if they are not always present at the same time in within the same learning environment? The saying at IJsfontein is that individually you can progress, but only together you can persevere. The aim of this collaboration with Hanze University of Applied Sciences Groningen is to provide playful learning designers with concrete and reusable design guidelines for leveraging social processes in playful learning across the digital/non-digital boundary. As such, we seek to contribute to the practically-oriented design knowledge available to the creative industry through design research that is grounded in practice. This type of design knowledge can only be fully developed when evaluated across different contexts of application. Therefore, we will form a consortium of partners from the creative industry to write a joint follow-up funding application
