When conducting research in and for the creative industries, there are a wealth of different possible research approaches that can be taken - reflecting the diverse nature of the disciplines (design, arts and crafts, advertising, architecture, fashion, film, music, TV, radio performing arts, publishing and interactive software) and academic contexts (art schools, business schools and universities) involved. The result is that there are variations in the emphasis and approach taken to how students are taught to link theory with practice, and how they view and engage with the concept ʻresearchʼ. The need for understanding and awareness of a range of approaches is critical for anyone learning about and working within design, business and the creative industries today.
Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
Based on the theory of embodied cognition we developed NOOT, at tangible tool that allows marking audio-moments during creative sessions. A detailed analysis of using NOOT in practice lead to a reconceptualization of NOOT within processes of external scaffolding. It also spurred a new design project focused on reflection during group sessions
The pace of technology advancements continues to accelerate, and impacts the nature of systems solutions along with significant effects on involved stakeholders and society. Design and engineering practices with tools and perspectives, need therefore to evolve in accordance to the developments that complex, sociotechnical innovation challenges pose. There is a need for engineers and designers that can utilize fitting methods and tools to fulfill the role of a changemaker. Recognized successful practices include interdisciplinary methods that allow for effective and better contextualized participatory design approaches. However, preliminary research identified challenges in understanding what makes a specific method effective and successfully contextualized in practice, and what key competences are needed for involved designers and engineers to understand and adopt these interdisciplinary methods. In this proposal, case study research is proposed with practitioners to gain insight into what are the key enabling factors for effective interdisciplinary participatory design methods and tools in the specific context of sociotechnical innovation. The involved companies are operating at the intersection between design, technology and societal impact, employing experts who can be considered changemakers, since they are in the lead of creative processes that bring together diverse groups of stakeholders in the process of sociotechnical innovation. A methodology will be developed to capture best practices and understand what makes the deployed methods effective. This methodology and a set of design guidelines for effective interdisciplinary participatory design will be delivered. In turn this will serve as a starting point for a larger design science research project, in which an educational toolkit for effective participatory design for socio-technical innovation will be designed.
Met behulp van de aangevraagde KIEM-subsidie willen het lectoraat Netwerkcultuur (Hogeschool van Amsterdam), Domein voor Kunstkritiek, Archined en Kritiklabbet (Zweden) het onderzoek naar (innovatieve vormen van) kunstkritiek internationaal bevorderen door binnen verschillende disciplines en landen een gezamenlijk Europees projectvoorstel vorm te geven. Dit voorstel zal gericht zijn op de ontwikkeling van een platform ten behoeve van kritische reflectie op kunst en cultuur: een cruciaal onderdeel van democratische samenlevingen gericht op de toekomst. Door uitwisseling van ervaringen, tools, netwerk en best practices, zullen kunst- en cultuurredacties, instituties en platforms de krachten bundelen op een manier waarbij lokale identiteit en taal gewaarborgd is. Door twee bijeenkomsten te organiseren beoogt het lectoraat een internationaal consortium op te stellen en een onderzoeksvoorstel op te stellen en indienen, binnen de regeling Creative Europe of vergelijkbaar.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
