Creative methodologies for understanding a creative industry

The chapter presents a conceptual framework for the identification and analysis of value creating and value capture systems within creative industry contexts based on theoretical and empirical studies. It provides a ‘digital economy’ perspective of the creative industries as a micro-level example of a wider analytical problem, which is how society changes itself. The increasing level of innovation and creativity produces greater levels of instability in social structures (habits, norms etc.) Completely new industries can arise (and ‘creatively’ destroy old ones) as new stabilised patterns form, particularly where entry costs are tumbling, such as digital milieu. Observations of workshops over several days with creative groups, interviews with creative enterprises, literature reviews on creative industries, business models and value systems have informed the analysis and conceptualisation. As a result we present a conceptual framework that we suggest can capture how novelty arises as emergent order over time. We have extended previous work that investigates the significance of emergence in theorising entrepreneurship into an exploration of how to articulate the creation and flow of value and effective ontology in a creative landscape. In the digital economy, the creative industries revolve around dynamic, innovative and often unorthodox collaborations, whereby numerous large, small and micro-businesses come together for the duration of a project, then disband and form new partnerships for the next project. Research designs must therefore address multiple contexts and levels presenting an analytical challenge to researchers. Methodologically, we suggest that the framework has analytical potential to support the collection of data: ordering and categorising empirical observations concerning how different phenomena emerge over time across multiple levels of analysis and contexts. Conceptually, the work broadens the notions of ‘business model’ to consider value creating systems and particular states reached by those systems in their evolution. The work contributes new concepts for researchers in this field and a wider framework for practitioners and policy makers

Developing a Framework for Managing Tacit Knowledge in Research using Knowledge Management Models

This research investigates whether and how selected models from Knowledge Management (KM) can be used to devise a framework for building coherent and rigorous methodologies for research in the creative and practice-led disciplines (CPD). This research has arisen from methodological problems of research in art and design in the UK concerning how, and the extent to which, non-propositional and tacit kinds of knowledge (e.g. experiential, procedural) can be included and communicated within research. The proposed research builds on previous studies by the authors into the role and relationship of different kinds of knowledge in research (Niedderer, 2007a, 2007b), and into how knowledge management (KM) and creative disciplines provide complementary insights on how knowledge can be managed and transferred (Imani, 2007). The research investigates whether and how the SECI model (Nonaka &amp; Takeuchi, 1995; Nonaka, 2000) can be used to develop a framework for managing different kinds of knowledge in research. Our research goes beyond existing approaches by offering a generic and flexible framework which researchers can use to better understand and build their own research methodologies and to integrate individual methods with regard to managing different kinds of knowledge.</p

Creating creative processes: a workshop demonstrating a methodological approach for subjects between the sciences and the arts.

There is a lack of ‘explicit education’ of different modes of creativity and different methodologies for initiating creative processes. The awareness of creative methodology is not only important for professionals in the creative arts (composers, performing artists and art practitioners) but also for developers of tools that support creative processes. This article discusses the background and context of the more general issues of creativity in higher education and then moves on how a hands-on workshop was developed specifically for the computer music / music technology related degrees enabling experiential learning of a wide variety of creative methodology. It discusses the pedagogical methodologies behind the workshop, the running of the workshop itself and examples of the specific exercises and the different contexts in which it has been integrated

New design methodologies for creative development of new products

In the new market situation, innovation in designing products is needed. To achieve this when faced classic analysis and investigation methods of a retrospective nature, prospective design methods are necessary, and these methods have as their main function the creation of new creative hypotheses with a view to the future. Prospective methods tend to satisfay consumer's as yet unformulated expectations and needs. Here is an exposition of the basic characteristics of prospective design methods, from the process phase to the making up of teams which are to participate in these processes

The spiral relationship between suffering and the production of fashionable clothes

In this article, I explore relationships between suffering and the production of fashionable clothes. In the commercial struggle for survival many fashionable styles are discarded while some remain durable due to their adaptability to new trends and creative ideas. The aim of the research was to investigate how suffering initiates these changes in the creative process of fashion design. This was examined through a number of methodologies, which included object-based research and ethnography. The research findings indicate that suffering within the fashion industry can be a positive attribute. It can influence the way clothes are produced and the skills necessary to produce them. A model depicting the connection between suffering and fashion is posited as a tentative theory suggesting there is a spiral relationship in that changes in fashion production and consumption resulting from suffering evolve into a spiral of further suffering impacting on the future of fashion design and manufacture

A dual process account of creative thinking

This article explicates the potential role played by type 1 thinking (automatic, fast) and type 2 thinking (effortful, logical) in creative thinking. The relevance of Evans's (2007) models of conflict of dual processes in thinking is discussed with regards to creative thinking. The role played by type 1 thinking and type 2 thinking during the different stages of creativity (problem finding and conceptualization, incubation, illumination, verification and dissemination) is discussed. It is proposed that although both types of thinking are active in creativity, the extent to which they are active and the nature of their contribution to creativity will vary between stages of the creative process. Directions for future research to test this proposal are outlined; differing methodologies and the investigation of different stages of creative thinking are discussed. © Taylor & Francis Group, LLC

Landscape History and Theory: from Subject Matter to Analytic Tool

This essay explores how landscape history can engage methodologically with the adjacent disciplines of art history and visual/cultural studies. Central to the methodological problem is the mapping of the beholder � spatially, temporally and phenomenologically. In this mapping process, landscape history is transformed from subject matter to analytical tool. As a result, landscape history no longer simply imports and applies ideas from other disciplines but develops its own methodologies to engage and influence them. Landscape history, like art history, thereby takes on a creative cultural presence. Through that process, landscape architecture and garden design regain the cultural power now carried by the arts and museum studies, and has an effect on the innovative capabilities of contemporary landscape design