This review is the first step in a long-term research project exploring how social robotics and AI-generated content can contribute to the creative experiences of older adults, with a focus on collaborative drawing and painting. We systematically searched and selected literature on human-robot co-creativity, and analyzed articles to identify methods and strategies for researching co-creative robotics. We found that none of the studies involved older adults, which shows the gap in the literature for this often involved participant group in robotics research. The analyzed literature provides valuable insights into the design of human-robot co-creativity and informs a research agenda to further investigate the topic with older adults. We argue that future research should focus on ecological and developmental perspectives on creativity, on how system behavior can be aligned with the values of older adults, and on the system structures that support this best.
DOCUMENT
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.
DOCUMENT
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.
DOCUMENT
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.
Within the film and theater world, special effects make-up is used to adapt the appearance of actors for visual storytelling. Currently the creation of special effects makeup is a time-consuming process which creates a lot of waste that doesn’t fit in with the goals of a sustainable industry. Combine with the trend of the digitization of the movie and theater industry which require faster and more iterative workflows, the current ways of creating special effects makeup requires changing. Within this project we would like to explore if the traditional way of working can be converted to a digital production process. Our research consists of three parts. Firstly, we would like to explore if a mobile face scanning rig can be used to create digital copies of actors, and such eliminate the need to creates molds. Secondly, we would like to see if digital sculpting can replace the traditional methods of sculpting molds, casts and prosthetics. Here we would like to compare both methods in terms of creativity and time consumption. The third part of our project will be to explore the use of 3D printing for the creation of molds and prosthetics.
Creativiteit wordt in de wetenschappelijke literatuur vaak gedefinieerd als creatief denken, als iets dat zich enkel in het hoofd afspeelt, zonder daarin de rol van het lichaam en de omgeving mee te nemen. Dit onderzoek heeft als doel om een overzicht te geven van beschikbare wetenschappelijke literatuur over creatief denken van leerlingen op de basisschool. Daarnaast brengt het manieren in kaart waarmee leerkrachten creatief denken kunnen bevorderen in verschillende schoolvakken en in vakoverstijgend onderwijs.Creativiteit wordt in de wetenschappelijke literatuur vaak gedefinieerd als creatief denken, als iets dat zich enkel in het hoofd afspeelt. zonder daarin de rol van het lichaam en de omgeving mee te nemen. Door deze eenzijdige definitie van creatief denken te hanteren, blijven kansen onbenut om in verschillende vakken op de basisschool het creatief denken van leerlingen te bevorderen. In deze overzichtsstudie, gefinancierd door Nationaal Regieorgaan Onderwijsonderzoek (NRO), gaan onderzoekers van de Hanzehogeschool uit van een brede opvatting van creativiteit, waarin naast het denken ook het lichaam en de omgeving worden betrokken.Onderzoekers van onderzoeksgroep Kunsteducatie en lectoraat Jeugd, Educatie & Samenleving creëren een raamwerk waarin de verschillende aspecten van creatief denken worden belicht. Op basis van deze brede definitie worden manieren in kaart gebracht waarop leraren creatief denken kunnen bevorderen in verschillende schoolvakken en in vakoverstijgend onderwijs op de basisschool.In veel definities van creativiteit wordt creatief denken beschouwd als iets dat zich enkel in het hoofd afspeelt, zonder dat de rol van het lichaam en de omgeving wordt meegenomen. Door de multidimensionaliteit van creatief denken te negeren blijven kansen liggen om in verschillende vakken op de basisschool het creatief denken van leerlingen te bevorderen. In deze overzichtsstudie gaan we uit van een brede opvatting van ‘denken’ waarin ook het lichaam en de omhgeving worden betrokken. We creëren een raamwerk waarin de verschillende aspecten van creatief denken worden belicht en op basis waarvan manieren worden geïdentificeerd hoe leerkrachten creatief denken kunnen bevorderen in verschillende schoolvakken op de basisschool.
