In the context of new media art, the intrinsic interplay of disciplines poses constant learning challenges to the artists, as it requires a continuous acquisition and reconfiguration of knowledge. This article seeks to understand to what extent knowledge processes of creation, transfer and adoption contribute to the creative collaborative outcomes of new media artists, by investigating: i) explicit and tacit knowledge flows of new media artists; ii) strategies for knowledge creation, transfer and adoption; iii) contexts in which these processes are facilitated. Based on qualitative methods, findings indicate that the way in which artists learn and interact is related to their personality; values such as openness, curiosity, respect or trust shape the context for a shared interest in knowledge creation, adoption, and exchange. A holistic approach to knowledge-creating place (‘Ba’) contributes to understanding the fluid contexts in which creative processes occur.
MULTIFILE
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.
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
