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.
Maker education offers opportunities to stimulate the creativity of young people in various types of education. How to guide these learning processes, however, is an unexplored area for the supervisors (teachers and librarians). In the research-project presented, a professional learning community of librarians, teacher-researchers and maker educators investigates the pedagogy of ‘making’. The learning community consisted of twelve makerspace-coaches, three maker educators and three researchers. The interventions for enhancing creativity that were developed varied from redesign of the tasks to new forms of guiding students. It was noticed that the children came up with new ideas and were motivated to push out their frontiers. Furthermore, the coaches experienced that children’s creativity is not always visible in the final products of their making process, but rather in the process of making. The learning community turned out to be a fruitful approach for professionalization of makerspace-coaches.
MULTIFILE
Computational thinking (CT) has become a necessity in many professional domains. As such, scholars argue that the acquisition of CT and application should be embedded in existing school subjects. Within the CT literature, a tax-onomy distinguishes CT practices in STEM education into four categories: data related, systems thinking, modeling & simulation and computational problem solving (CPSP). Practical applications of these different categories are still limited. This paper presents three examples in which edu-cators of science teachers integrate CT within STEM con-tent knowledge using the above mentioned taxonomy. The first example applies to CPSP and data practices, the sec-ond to CPSP exclusively, the final to systems thinking and modeling & simulation. The examples provide practical insight that makes the use of CT in STEM education more tangible for practitioners.
My research investigates the concept of permacomputing, a blend of the words permaculture and computing, as a potential field of convergence of technology, arts, environmental research and activism, and as a subject of future school curricula in art and design. This concept originated in online subcultures, and is currently restricted to creative coding communities. I study in what way permacomputing principles may be used to redefine how art and design education is taught. More generally, I want to research the potential of permacomputing as a critical, sustainable, and practical alternative to the way digital technology is being taught in art education, where students mostly rely on tools and techniques geared towards maximising productivity and mass consumption. This situation is at odds with goals for sustainable production and consumption. I want to research to what degree the concept of permacomputing can be broadened and applied to critically revised, sustainable ways of making computing part of art and design education and professional practice. This research will be embedded in the design curriculum of Willem de Kooning Academy, focused on redefining the role of artists and designers to contribute to future modes of sustainable organisation and production. It is aligned with Rotterdam University of Applied Sciences sectorplan masters VH, in particular managing and directing sustainable transitions. This research builds upon twenty years of experience in the creative industries. It is an attempt to generalise, consolidate, and structure methods and practices for sustainable art and design production experimented with while I was course director of a master programme at WdKA. Throughout the research I will be exchanging with peers and confirmed interested parties, a.o.: Het Nieuwe Instituut (NL), RUAS Creating 010 kenniscentrum (NL), Bergen Centre for Electronic Arts (NO), Mikrolabs (NO), Varia (NL), Media Arts department at RHU (UK), Media Studies at UvA (NL).
