Mechanisms of collaboration between creative small, medium and micro-sized enterprises and higher education institutions: reflections on the Creativeworks London Creative Voucher scheme

This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].According to the literature, university-industry collaborations are far from straightforward. This paper adds to this work by looking at how the process of collaboration has fared between higher education institutions (HEIs) and small, medium and micro-sized enterprises (SMEs) in the creative and cultural industries (CCI). It does this by looking at the preliminary findings of Creativeworks London’s (CWL) Creative Voucher Scheme. The findings emerged from an analysis of application data, ex post project final reports and interview data. The results to date show that: first, past experience in university – industry collaborations is tremendously beneficial to the success of the collaboration ; second, the creative industries engages with a number of different actors that speak different collaborative languages, actors are needed that are able to communicate at multiple levels at once; third, the collaborative process is not simply a dualistic one between university and industry but multi-layered involving a number of knowledge brokers in different positions in-between and at the interstices of these organizational structures; fourth, administrative expediency with regards to implementing these voucher schemes varies from university to university which point to potentially large departmental differences that can affect the intended collaborations; and fifth, there needs to be a managing of expectations and a balancing of different incentives when it comes to negotiating the outcome of these collaborations since university and industry move at different speeds and value different things

Profiling business support provision for small, medium and micro-sized enterprises in London’s fashion sector

The primary aim of this paper is to build a profile of the business support landscape that exists for fashion SMEs (small and medium-sized enterprises) and MSEs (micro-sized enterprises) in London. In the face of multiple challenges, fashion sector SME/MSEs benefit from the services provided by business support organisations. We have identified 21 fashion support organisations that exist in London. They can be broadly divided into two types of business support organisations: fashion incubators and partial-support organisations, both of which play an equally important role in the sector

Do voucher schemes matter in the long run? A brief comparison of Nesta’s Creative Credits and Creativeworks London’s Creative Voucher schemes

his research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].his research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].his research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].In policy circles, the common consensus about voucher schemes aimed at the creative sector is that they have short term but no real lasting impact. This short position paper queries this notion. This is mainly because these schemes are notoriously variable in their design, implementation and evaluation. As a brief illustration of this variance this paper compares important elements of Nesta’s Creative Credit scheme with that of Creativeworks London’s (CWL) creative voucher scheme. In comparing these two types of innovation voucher schemes, it becomes apparent that two interrelated factors play a large role in determining whether long term effects might be realised: first, the variance in their designs and rationales; and second, the important role of brokerage. Importantly, this paper suggests that in order for long term effects to be realised through these types of collaborative schemes, consideration must be given to what these effects look like and then designed ex ante into the scheme

Assessing Culture Competence Among Nurses in an Acute Care Setting

The aim of the study was to assess cultural competence among nurses in an acute care setting. A 25-item questionnaire developed by Campinha-Bacote (2003) titled Inventory to Assess Cultural Competence Among Health Care Providers (IAPCC-R) along with a demographic survey were utilized to assess cultural competence among 100 nurses in an acute care hospital. The results of the study indicated that 70% of nurses (n=63) were culturally aware and 30% (n=27) were culturally competent. There was no statistical significance between the level of cultural competence and years of experience, educational degree or self rating of \u27being culturally competent\u27. The findings of the study provide direction to strengthen cultural competence education and training among nurses and strategies to enhance the structure and processes of organization\u27s efforts to deal with diversity

Hackathons: Why Co-Location?

This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].In this position paper we outline and discuss co-location as a significant catalyst to knowledge exchange between participants for innovation at hackathon events. We draw on surveys and empirical evidence from participation in such events to conclude that the main incentives for participants are peer-to-peer learning and meaningful networking. We then consider why co-location provides an appropriate framework for these processes to occur, and emphasize the needs for future research in this area

Outside the Voucher: Evaluating the Creative Voucher Scheme

This chapter seeks to elaborate on what one might have expected to be the straightforward task of delivering and evaluating Creativeworks London’s (CWL) Creative Voucher scheme.1 What made the project difficult was that the notion of the “creative” voucher has not been used before; it was not a policy developed from a direct evidence base. Moreover, the Creativeworks London project was premised on the delivery of three funding streams of which the vouchers were one; indeed something approaching half of these funds were targeted to resource creative vouchers. This chapter offers a discussion of how we implemented the creative vouchers, the product of which makes up most of this volume. It also raises the question of what and how one might evaluate vouchers; something, we argue, that does not gain from a reduction to a limited set of quantitative indicators. Indeed, our reflections on the process projected us into a far more exploratory and nuanced narrative account of the vouchers; hence the chapters of this book which represent a range of different facets and experiences of the creative voucher scheme. Traditional evaluations of innovation and knowledge transfer are based upon simplistic mono-causal models whereby the dominant notion is that knowledge will naturally diffuse from high concentrations to low concentrations: like a gas; this of course is a social physics model. The failure to diffuse evenly, it is normally hypothesized, must be due to some “blockage” or “barrier.” In keeping with mechanical analogies, much policy action is focused on “fixing the plumbing” that is the leaky knowledge pipelines. The challenge is that the logic behind knowledge transfer, let alone policies such as vouchers, are seldom explicitly stated, but rather assumed as common sense. As we experience the transformation from mass production economies to those based on what are variously termed service economies, knowledge economies, or even cultural economies the physical movement of goods, innovation and ideas materialized as “solutions” (as “technology” has commonly been) has been replaced by weightless or virtual goods: ideas. Physicalist analogies might have been helpful in an old manufacturing economy; it is clear that they are less helpful in either dematerialized production, or the realm of ideas exclusively. Moreover, the Creativeworks London project was explicitly funded by the Arts and Humanities Research Council (AHRC) with a view to demonstrating the role of what the arts and humanities can contribute to the processes of knowledge transfer between universities and the creative economy (see Chapter One). It is obvious that the arts and humanities favor different approaches to knowledge than that of the sciences; in particular the humanities focus on the nature of human experience and ideas—one might argue that it is the ideal type of knowledge transfer. The humanities has a rather more nuanced and relational perspective on knowledge and human experience than the sciences, focused as they often are on physical processes and outcomes. We saw it as our task to explore and reflect on creative vouchers and meanings. Whereas the individual voucher stories provide a rich narrative of what the knowledge exchange process “looks like” and at times what it might “feel like,” and what meanings it produces for those involved, this chapter attempts to examine a linked story across the voucher process. It is not seeking to generalize or summarize, rather it explores the voucher process. In this sense we resist the traditional notion of evaluation, arguing that it is necessary to understand the process before we can possibly evaluate it against objectives, personal, institutional or political

Re-articulating the creative hub concept as a model for business support in the local creative economy: the case of Mare Street in Hackney

This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].This research was supported by the Arts and Humanities Research Council [grant Number AH/J005142/1].The literature on ‘creative hubs’ is scarce. Although the term is currently in wide use in policy circles, its actual meaning is not always clear. Accordingly, this paper aims to clarify what is meant by the ‘creative hub’ through the use of ethnographic work as well as a consolidation of the available literature. The findings suggest that although different creative hubs take on a number of different physical, spatial, organisational and operational manifestations they nonetheless can be understood as having four primary characteristics: first, they provide ‘creative’ services to creative SMEs, including micro-businesses; second, they are aimed specifically at early stage creative SMEs and micro-businesses; third, they are facilitated by trusted individuals who retain a number of important positions and conduct a number of important activities; and fourth, they have become important to the health of the local creative economy. This paper argues that the notion of the creative hub can be understood as a putative model for providing mainly business support in a local context for specifically the creative sector

A Framework for Integrating Oncology Palliative Care in Doctor of Nursing Practice (DNP) Education

Doctor of Nursing Practice (DNP) faculty play a critical role in preparing students to meet the complex needs of the nation as the number of cancer rates and survivors rise (National Cancer Institute, 2018) and as an unprecedented number of older Americans enter into the healthcare system with complicated comorbidities (Whitehead, 2016). Palliative care has dramatically expanded over the past decade and has been increasingly accepted as a standard of care for people with cancer and other serious, chronic, or life-limiting illnesses. Advanced practice registered nurses (APRNs) are recognized as important providers of palliative care (Walling et al., 2017). A 2-day course was held with support from the National Cancer Institute to enhance integration of palliative oncology care into DNP curriculum. The course participants (N = 183), consisting of DNP faculty or deans, practicing DNP clinicians, and students, received detailed annotated slides, case studies, and suggested activities to increase student engagement with the learning process. Course content was developed and delivered by palliative care experts and DNP faculty skilled in curriculum design. Participants were required to develop goals on how to enhance their school\u27s DNP curriculum with the course content. They provided updates regarding their progress at integrating the content into their school\u27s curriculum at 6, 12, and 18 months post course. Results demonstrated an increase in incorporating oncology palliative care in DNP scholarly projects and clinical opportunities. Challenges to inclusion of this content in DNP curricula included lack of: perceived time in curriculum; faculty educated in palliative care; and available clinical sites

Network Transformation: Can Big Nonprofits Achieve Big Results?

In an era of tech-enabled, high-growth social enterprises, it's easy to overlook the very large, slower-growth organizations with expansive networks that have been serving children, youth, and families for a decade -- or longer. But it's these national and global networks that have the reach and power to take on big social issues. That's a challenge some have chosen to undertake in a quest to evolve from simply serving community needs to solving underlying social problems