Creative Placemaking: Building Partnerships to Create Change

Arts, artists, and creative strategies can be critical vehicles for planning to achieve social, economic, and community goals. Creative placemaking is one type of arts-led planning that incorporates both stakeholder participation and community goals. Yet, questions exist around who participates in the creative placemaking process and to what end. Our study discusses a case where a state-sponsored workshop brings people from diverse backgrounds together to facilitate community development and engagement through creative placemaking. In particular, the event discussed in this study highlights how a one-shot intervention can reshape perceptions of creative placemaking held by planners, non-planners, artists, and non-artists. Our study also shows that while pre-workshop participants tended to identify resource-based challenges, post-workshop participants focused more on initiating collaborations and being responsive to community needs. The different attitudes before and after the state-sponsored workshop demonstrate the importance of facilitating stakeholder understanding and engagement for successful creative placemaking

Implementing feedback in creative systems : a workshop approach

One particular challenge in AI is the computational modelling and simulation of creativity. Feedback and learning from experience are key aspects of the creative process. Here we investigate how we could implement feedback in creative systems using a social model. From the field of creative writing we borrow the concept of a Writers Workshop as a model for learning through feedback. The Writers Workshop encourages examination, discussion and debates of a piece of creative work using a prescribed format of activities. We propose a computational model of the Writers Workshop as a roadmap for incorporation of feedback in artificial creativity systems. We argue that the Writers Workshop setting describes the anatomy of the creative process. We support our claim with a case study that describes how to implement the Writers Workshop model in a computational creativity system. We present this work using patterns other people can follow to implement similar designs in their own systems. We conclude by discussing the broader relevance of this model to other aspects of AI

The Undergraduate Creative Writing Workshop

More and more institutions are offering undergraduate Creative Writing Programmes. Many of these offer the workshop as part of that programme. The undergraduate creative writing workshop differs from the postgraduate one and is also different from workshops offered outside of the academy. This paper defines that workshop, and discusses some of its advantages and disadvantages. It offers some further thoughts about the undergraduate creative writing workshop in general. It looks at the format used at one institution, showing how previous modules feed into a Level 3 two semester long workshop. It illustrates the practice of one particular lecturer, giving special emphasis to how work is marked and feedback given within sessions to ensure maximum confidence and progress in students. Suggestions are made of useful strategies for workshop facilitators. This paper proposes that participating in a workshop is a skill that needs to be taught and that that skill is enhanced in students as they progress through the three levels, which in turn leads to the nature of the workshop changing as they progress

A shared agenda for the Seoul Conference on Cyberspace, South Korea, 2013

This briefing is ASPI’s distillation of the thoughts of a group of prominent members of the Australian cybersecurity community. We held a workshop in Canberra on the key panel sessions that will take place at the Seoul Conference on Cyberspace, South Korea, in October 2013. Workshop participants included the Australian Government departments with a stake in cyber issues and members of the private sector, including the banking and IT sectors, defence and security industries and representatives from the wider business community. The aim of the workshop was to provide creative Australian perspectives to take to the Seoul conference

Empowering Expression for Users with Aphasia through Constrained Creativity

Creative activities allow people to express themselves in rich, nuanced ways. However, being creative does not always come easily. For example, people with speech and language impairments, such as aphasia, face challenges in creative activities that involve language. In this paper, we explore the concept of constrained creativity as a way of addressing this challenge and enabling creative writing. We report an app, MakeWrite, that supports the constrained creation of digital texts through automated redaction. The app was co-designed with and for people with aphasia and was subsequently explored in a workshop with a group of people with aphasia. Participants were not only successful in crafting novel language, but, importantly, self-reported that the app was crucial in enabling them to do so. We refect on the potential of technology-supported constrained creativity as a means of empowering expression amongst users with diverse needs

Learning Design: reflections on a snapshot of the current landscape

The mounting wealth of open and readily available information and the swift evolution of social, mobile and creative technologies warrant a re-conceptualisation of the role of educators: from providers of knowledge to designers of learning. This need is being addressed by a growing trend of research in Learning Design. Responding to this trend, the Art and Science of Learning Design workshop brought together leading voices in the field and provided a forum for discussing its key issues. It focused on three thematic axes: practices and methods, tools and resources, and theoretical frameworks. This paper reviews some definitions of Learning Design and then summarises the main contributions to the workshop. Drawing upon these, we identify three key challenges for Learning Design that suggest directions for future research

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

CLIP/CETL Fellowship Report 2006/7 : Enhancing practice - to investigate an appropriate strategy for using Clip Cetl enhanced textile facilities to improve the student learning experience

To investigate and identify an appropriate strategy to inform the planning of course teams for the use of LCF’s enhanced textile facility at Lime Grove. The project aimed to design material to underpin workshop based specialist skills and establish a system to encourage the creative use of new equipment. The work aimed to enrich the student learning experience and enable students’ learning to be organised on a more flexible basis by supporting independent learning

The Impact of a Summer Workshop: Staff Orientation at Mesa Community College

The Arizona Collaborative for Excellence in the Preparation of Teachers (ACEPT) is a National Science Foundation (NSF) funded project to reform teacher preparation in Arizona. One of the major modes for initiating both collaboration and reform between and among university and community college staff has been the Summer Faculty Enhancement Workshops developed and offered by ACEPT co-principal investigators each summer since 1996. The summer of 1999 featured five workshops, one of which was the Geology Summer Workshop which brought participants into close contact with eighteen reformed practices appropriate for large lecture style classes. One of the nineteen participants was Ray Grant, Department of Science Chair at Mesa Community College, one of the collaborating institutions in ACEPT. This report describes what Ray, as department chair, did as a follow-up to the summer workshop. What occurred completely transformed the Department of Science staff orientation meeting held just prior to the fall semester. Some of the surprising events are described in this report. The transformation of the staff meeting not only speaks to the impact of the Geology Summer Workshop, but also suggests creative roles for staff orientation meetings in community college settings