Creative arts engagement has been shown to be related to maintaining wellbeing in older adulthood (Tymoszuk et al., 2019). For people living with dementia, music can be engaging and rewarding (Baird & Thompson, 2018), and is often presented as a therapeutic activity. It is theorised that music’s capacity to effect change is due to its engaging, emotional, physical, personal, social and persuasive qualities (Brancatisano et al., 2020). However, music itself is a complex intervention (Loui, 2020) and the ‘creative’ in music activities in the small number of studies with people living with dementia is rarely described or critiqued (Creech et al., 2020). Music is often described as passive (receptive)/active to reflect different listening or playing activities. Only a few studies detail opportunities for people living with dementia to exercise creativity (e.g. Zeilig et al., 2019).Technology to assist these musical interactions in dementia falls under distinct categories of listening to music, or playing music, with very little afforded in the way of agency, choice or control (MacRitchie et al., 2023). A few possible explanations could be: i) the musical activity is valued in terms of pre/post cognitive or social changes (Kontos & Grigorovich, 2018) i.e., the activity itself is not particularly critiqued, ii) creativity is assumed to be embedded in the activity and does not need to be enhanced or supported, iii) the locus of creativity is in cognitive processes occurring in the brain, so people living with dementia are often ascribed a passive role in creative musical interactions (Zeilig et al., 2019). We propose a new way of thinking about musical interactions for people living with dementia, building from the enactive, embodied experience of music (Schiavio et al., 2022), and considering a more relational view. Leaving aside the framing where the person with dementia is limited in what creativity they can offer, we propose instead a framework of design where subtle acts of agency and (mini-C) creativity are afforded, supporting a myriad of musical interactions that sit between listening and performing.
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The research describes and evaluates the implementation of the experimental pilot “Innovation Lab: Sustainable (Creative) Society” within a regular curriculum of International Communication major, specifically, the 4th year Public affairs specialisation.The experimental innovation lab aimed to embed creativity and innovation in the regular curriculum. The focus on creativity was chosen, because it is increasingly acknowledged that creativity and innovation are essential qualities of the future professional who needs to deal with complexity and uncertainty of our world and who aims to develop a sustainable society. In other words, the development of sustainable society is not possible without creativity, and thus, the future is of Sustainable (Creative) Society.
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Culture and tourism were two of the major growth industries of the twentieth century, and in recent decades the combination of these two sectors into ‘cultural tourism’ has become one of the most desirable development options for countries and regions around the world. As the Organisation for Economic Co-operation and Development (OECD) report on The Impact of Culture on Tourism (2009) noted, cultural tourism accounted for almost 360 million international tourism trips in 2007, or 40 per cent of global tourism. In value terms, the contribution of cultural tourism is even greater, since cultural tourists are estimated to spend as much as onethird more on average than other tourists (Richards 2007). However, the rapid growth of cultural tourism from the preserve of the elite Grand Tourists to a major industry in the last century has also caused problems. Growing numbers of tourists at major sites and in small communities has raised questions about the sustainability of this new form of mass tourism. In particular it has become harder for destinations to profile their culture among the welter of products on offer, each desperate to claim their uniqueness. There is a growing number of places in search of new forms of articulation between culture and tourism which can help to strengthen rather than water down local culture, which can raise the value accruing to local communities and improve the links between local creativity and tourism. Many places are therefore turning to creative development strategies, or different forms of creative tourism in the process (Richards 2011). This chapter examines why and how cultural tourism is being transformed into creative tourism.
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In recent years, ArtEZ has worked on a broadly supported strategic research agenda on the themes New Ecologies of Matter (ecological challenges), Social Equity (social-societal issues), (Un)Learning Practices (educational innovations) and (Non)CybernEtic Fabric (technological developments). Building on these strategic themes, the ArtEZ Research Collective as developed an international research strategy to become a valuable partner in the relevant Horizon Europe (HEU) areas of Environment, Industry and Social science and humanities. With its specific knowledge position and approach from arts and creativity, ArtEZ is convinced that it can play a distinctive role in European consortia to tackle various challenges in these areas, in particular from the perspective and research topics of the professorships Fashion and Tactical Design. To achieve its ambitions and goals in its targeted research topics, ArtEZ is convinced that a combination of international connections and local applications is key for successful impact. Building upon existing relations and extending the international research position requires extra efforts, e.g., by developing a strong international framework of state-of-the-art research results, impacts and ambitions. Therefore ArtEZ needs to (further) build on both its international network and its supportive infrastructure. With this proposal ArtEZ is presenting its goals and efforts to work on its international recognition as a valuable research partner, and to broaden its international network in cutting-edge research and other stakeholders. With regards to its supporting infrastructure, ArtEZ has the ambition to expand the impact of the Subsidy Desk to become a professional partner to the professorships. This approach requires a further professionalization and extension of both the Subsidy Desk organization and its services, and developing and complementing skills, expertise and competences to comply to the European requirements.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
In an increasingly complex and rapidly changing world, traditional disciplinary approaches to the framing and resolution of social and economic problems deliver ever diminishing returns.Discussions abound, therefore, about how best to educate and prepare graduates for the fresh challenges of the 21st century.Knowledge Alliances between Higher Education Institutions (HEIs) and enterprises which aim to foster innovation, entrepreneurship, creativity, employability, knowledge exchange and/or multidisciplinary teaching and learning are therefore becoming increasingly necessary and relevant. The challenge is to determine what we should teach in the future and how it should be taught. The changing nature of contemporary society highlights that social issues are often highly complex and multifaceted.The aim of this Action is to demonstrate, through the adoption of Multi-Disciplinary Innovation (MDI) methods, how we can respond to social problems with a design-led approach which has a problem-oriented ethos, supporting positive social change and the development of international public policy discourse. It will be achieved through the establishment of a Pan-European Public Sector Innovation (ePSI) lab. It will prepare students for roles in employment by integrating education programmes into the lab’s operations and it will support agencies that have a role in responding to and developing public policy.COST action on social innovation in labs
