In dit artikel wordt eerst beschreven wat het verschil is tussen Evidence Based Practice (EBP) en Practice Based Evidence (PBE). Vervolgens wordt ingegaan op het toepassen van EBP en PBE in de praktijk. Dit gebeurt met behulp van de begrippen normativiteit en contextualiteit. Tot slot worden, in het licht van het voorafgaande, de rollen beschreven die de professional kan innemen ten aanzien van het verbeteren en ontwikkelen van zijn handelen. Aan bod komen de 'reflective practitioner', de 'evidence based practitioner' en de 'scientist practitioner'.
In cognitive science, creative ideas are defined as original and feasible solutions in response to problems. A common proposal is that creative ideas are generated across dedicated cognitive pathways. Only after creative ideas have emerged, they can be enacted to solve the problem. We present an alternative viewpoint, based upon the dynamic systems approach to perception and action, that creative solutions emerge in the act rather than before. Creative actions, thus, are as much a product of individual constraints as they are of the task and environment constraints. Accordingly, we understand creative motor actions as functional movement patterns that are new to the individual and/or group and adapted to satisfy the constraints on the motor problem at hand. We argue that creative motor actions are promoted by practice interventions that promote exploration by manipulating constraints. Exploration enhances variability of functional movement patterns in terms of either coordination or control solutions. At both levels, creative motor actions can emerge from finding new and degenerate adaptive motor solutions. Generally speaking, we anticipate that in most cases, when exposed to variation in constraints, people are not looking for creative motor actions, but discover them while doing an effort to satisfy constraints. For future research, this paper achieves two important aspects: it delineates how adaptive (movement) variability is at the heart of (motor) creativity, and it sets out methodologies toward stimulating adaptive variability.
The European music profession is rapidly changing and suggests more flexible career patterns and a need for transferable skills and lifelong learning strategies. Musicians collaborate increasingly with practitioners in other arts and societal cross-sector settings. This reality holds challenges and implications for higher music education (Smilde 2009). This state of play was point of departure in 2006 for the development of the collaborative European master ‘New Audiences and Innovative Practice’ (NAIP) by five European conservatoires. Five schools, from Iceland, the UK, the Netherlands and Finland, devised an innovative two-year master programme, helping students to develop and lead creative projects in diverse artistic, community and cross-sectoral settings, thereby creating new audiences and developing their leadership skills in varied artistic and social contexts. The programme aims to provide future professional musicians with the skills and knowledge to become artistically flexible practitioners able to adjust to new contexts within a wide range of situations of societal relevance. This particular chapter entails a case study of the first summer school of this programme which took place in Iceland. It details the heart of the programme, the artistic laboratory and reflective practice.
The pace of technology advancements continues to accelerate, and impacts the nature of systems solutions along with significant effects on involved stakeholders and society. Design and engineering practices with tools and perspectives, need therefore to evolve in accordance to the developments that complex, sociotechnical innovation challenges pose. There is a need for engineers and designers that can utilize fitting methods and tools to fulfill the role of a changemaker. Recognized successful practices include interdisciplinary methods that allow for effective and better contextualized participatory design approaches. However, preliminary research identified challenges in understanding what makes a specific method effective and successfully contextualized in practice, and what key competences are needed for involved designers and engineers to understand and adopt these interdisciplinary methods. In this proposal, case study research is proposed with practitioners to gain insight into what are the key enabling factors for effective interdisciplinary participatory design methods and tools in the specific context of sociotechnical innovation. The involved companies are operating at the intersection between design, technology and societal impact, employing experts who can be considered changemakers, since they are in the lead of creative processes that bring together diverse groups of stakeholders in the process of sociotechnical innovation. A methodology will be developed to capture best practices and understand what makes the deployed methods effective. This methodology and a set of design guidelines for effective interdisciplinary participatory design will be delivered. In turn this will serve as a starting point for a larger design science research project, in which an educational toolkit for effective participatory design for socio-technical innovation will be designed.
Met behulp van de aangevraagde KIEM-subsidie willen het lectoraat Netwerkcultuur (Hogeschool van Amsterdam), Domein voor Kunstkritiek, Archined en Kritiklabbet (Zweden) het onderzoek naar (innovatieve vormen van) kunstkritiek internationaal bevorderen door binnen verschillende disciplines en landen een gezamenlijk Europees projectvoorstel vorm te geven. Dit voorstel zal gericht zijn op de ontwikkeling van een platform ten behoeve van kritische reflectie op kunst en cultuur: een cruciaal onderdeel van democratische samenlevingen gericht op de toekomst. Door uitwisseling van ervaringen, tools, netwerk en best practices, zullen kunst- en cultuurredacties, instituties en platforms de krachten bundelen op een manier waarbij lokale identiteit en taal gewaarborgd is. Door twee bijeenkomsten te organiseren beoogt het lectoraat een internationaal consortium op te stellen en een onderzoeksvoorstel op te stellen en indienen, binnen de regeling Creative Europe of vergelijkbaar.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
