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Thinking with a New Purpose: Lessons Learned from Teaching Design Thinking Skills to Creative Technology Students

Thinking with a New Purpose: Lessons Learned from Teaching Design Thinking Skills to Creative Technology Students

Attendance was consistently high throughout the course duration when compared to other courses. This may have been due to the intense group-work nature of the course which may motivate students and may also provide some degree of peer pres- sure to attend. None of the students reported negative impacts of group work, howev- er, and we would tentatively argue that the course program did indeed foster Situated Learning which according to Hung [8] can compel students to take part and ultimately learn more. Some lessons can be learnt regarding curriculum development for creative technology design courses:
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The art of regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010

The art of regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010

Berg’s vision for the organisation was much more ambitious than that of Barnard and Haskel, however, and in 1988 he chose to drop the regional prefix in an attempt to signal an international profile, and his early achievements with Moviola demonstrated this ambition. He secured funding from the Arts Council of Great Britain (ACGB) for a biennial festival of video art, with the first Video Positive festival taking place in 1989. From the outset Video Positive was defined as an international festival, but Moviola was underpinned by an ethos of being rooted in the local community which it had inherited from Merseyside Moviola. This was demonstrated in the early 1990s, a time which was crucial in the development of Moviola’s core activities, when the organisation secured funding for a community project that would be integrated into the Video Positive festivals. The Collaboration Programme was established in 1990, and two years later Moviola’s remit further developed with the creation of a media art presentation and training facility, MITES. Both of these activities were supported by the ACGB and Merseyside’s Regional Art Board (RAB), and by 1995 Moviola had asserted its position as a regularly funded client. 50 This status signalled a period of continual growth for Moviola throughout the 1990s, which culminated in the rebranding of the organisation in 1997. The new brand, the Foundation for Art and Creative Technology (FACT), produced two further Video Positive festivals in 1997 and 2000, as well as continuing to develop the Collaboration Programme and MITES, but by the turn of the twenty-first century, the organisation had become increasingly focused on the development and construction of its own premises, the FACT Centre. 51
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Improving the flipped classroom perspective for programming in creative technology

Improving the flipped classroom perspective for programming in creative technology

Er is een enorme diversiteit en daardoor is het antwoord wat flauw, maar een CreaTe’r is iemand die afstudeert aan Creative Technology. Oke, dat is te flauw, maar dat komt omdat je er heel veel over kunt zeggen. Uiteindelijk gaat het aan de engineering kant over informatica en elektrotechniek maar het gaat ook over design, het gaat ook over entrepreneurship, er zit een basis van onderzoek in en samen leidt dat tot een soort student die afhankelijk van zijn eigen liefdes heel ver is in bepaalde delen en minder ver in andere delen. En dat leidt tot een hele diverse student met een liefde voor het maken van dingen. Ze hebben absoluut geen angst met het aanpakken van technologie en dat kunnen ze ook, ze zullen ook gewoon een soldeerbout oppakken en iets gaan doen. Ze willen ook dingen maken die er toe doen, het feit dat een project verder gaat in demo markten en dingen als gogbot. Ze zouden wel eens wat meer zelfvertrouwen mogen hebben, al hebben alle opleidingen wel dat studenten soms wat zelfvertrouwen missen. Echter wordt dat effect versterkt door het feit dat de opleiding zo breed is.
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The Role of the “Inter Life” Virtual World as a Creative Technology to Support Student Transition into Higher Education

The Role of the “Inter Life” Virtual World as a Creative Technology to Support Student Transition into Higher Education

Most recently, Savin-Baden et al., (2010) have carefully con- sidered the multi-media or multi-modal affordances of virtual worlds against the traditional “text” based or “written” world of Higher Education and scholarship. However, Jewitt et al., (2001) have reported on the multi-modal nature of the Science disci- plines which have traditionally drawn on several semiotic rep- resentations in addition to text, namely: images, diagrams, mod- els, symbols and experiences which all contribute to meaning- ful learning (Jewitt et al., 2001; Jewitt, 2006, 2008). The trans- fer of learning to digital spaces will draw on several technology tools and not just a mass migration to one space or environment, and it is essential that there is a portfolio of digital tools that can be tailored to student centred learning in HE settings. In- creasingly, the transfer of learning to digital spaces will require the development of multi-modal literacies in order to navigate digital learning in a critical, responsible and informed manner (O’Halloran, 2012). Accordingly, there is a need for rigorous pedagogies and theories of learning to support and mediate learning in the HE setting with new Technology Enhanced Learning (TEL) tools (Laurillard, 2002).
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Contemporary models of curatorial and institutional praxis: a study of the foundation for art and creative technology (FACT)

Contemporary models of curatorial and institutional praxis: a study of the foundation for art and creative technology (FACT)

Despite the similarities (discussed above) between Tennantspin and Veterans in Practice there are sig- nificant differences between the two projects, especially with respect to the way in which they were originally envisaged and set up to run. Tennantspin started as a community project with a strong artistic and curatorial lead (by artist Alan Dunn) and a clearly defined format (Superflex TV), with time losing its creative edge and moving into the realm of community art and focused on its role in facilitating social agency. VIP started as a social engagement and wellbeing project with no clearly defined artistic output or format. The veterans themselves and in discussion with project facilitators from FACT determine the nature of their creative engagement. Although Tennantspin, especially in its earlier period, had a clear focus and functioned within specific context – providing a platform for older residents to engage in debates about their future housing – the project had much wider resonance as a ground-breaking experiment, which tested emerging media tools as a platform for discussion and citizen activism. Tennantspin later functioned as a city-wide channel for community led debate. In contrast, Veterans in Practice focuses on particular group of people and the challenges they face, aiming to help veterans return to civilian life, and regain their confidence through en- gagement with art. Tennantspin and Veterans in Practice share in common focus on the process of sustained engagement, collaboration with specific group for a longer period of time.
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Conrad Jamir CREATIVE+TECHNOLOGY. Huntington Beach, CA mobile

Conrad Jamir CREATIVE+TECHNOLOGY. Huntington Beach, CA mobile

My expertise includes strong hands-on technical skills in branding, creative, print design production, pre-press, web user-interface design and development, and technology infrastructure management. Furthermore, I possess a solid track record for leading and motivating creative and technical production professionals to achieve high levels of

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Creative Technology in the Curriculum in Online Teacher Training

Creative Technology in the Curriculum in Online Teacher Training

4.4: Plan, design, implement and monitor instruction, making effective use of instructional time to maximize learning opportunities and provide access to the curriculum for all students by removing barriers and providing access through instructional strategies that include: appropriate use of instructional technology, including assistive technology; applying principles of UDL and MTSS; use of developmentally, linguistically, and culturally appropriate learning activities, in- structional materials, and resources for all students, including the full range of English learners; appropriate modifications for students with disabilities in the general education classroom; opportunities for students to support each other in learning; and use of community resources and services as applicable.
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Three dimensional capacitive sensing for wearable technology : a development example for creative technology

Three dimensional capacitive sensing for wearable technology : a development example for creative technology

Most of the non-encumbered systems explained by LaViola are computer-vision-based tracking methods. These systems show drawbacks in comparison to three-dimensional capacitive sensing. Since a visual connection is essential for the system to operate, functionality might suffer from low lighting/ darkness, grime or objects which block vision of the camera/sensor or high speed movement which is not as easily recognized on camera. In encumbered systems, vision-based motion sensors show limitations as well. Cheng and Du [21],[11] state: “First, attaching motion sensors is not practicable for every body location. This is particularly true for hands and the head. Second, signals from motion sensors can be ambivalent (as different actions are for example associated with similar motions).” LaViola continues to show multiple encumbered systems, which will be addressed shortly, as they do not show considerable future potential in comparison to capacitive sensing technology.
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Schools as creative beacons II : creative partnerships, Coventry

Schools as creative beacons II : creative partnerships, Coventry

Much of the impetus behind the successful implementation of both the CP project and its evaluation at school B lay with the responsible teacher. This teacher had drawn in other members of the teaching staff, and had provided the main motor for the project. However, it was felt that there were a number of difficulties faced by the school in relation to both CPC and creative projects. School B had experienced difficulties with one of the CPC 'creatives' (a contracted artistic support worker), who was reported to have been unwilling to fit into the project as envisaged by the school. The creative's proposals for the CP project had, in fact, been rejected by a whole school staff meeting, and the contract was ended. There was also a feeling on the part of the school that CPC was too 'Napoleonic', too directional, in its desire to manage projects in schools. The school's view was that it should have greater autonomy, and that a more effective use of outside 'creatives' would be to help the skills of school staff, rather than providing direct input into projects. However, it was acknowledged that this would mean INSETs for teachers, and time was a barrier in that respect. Finally, it was felt that in school B the future success of CP style teaching and learning would depend on a much greater degree of involvement on the part of the school leadership team, something that had not occurred thus far.
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Schools as creative beacons : creative partnerships (CP), Coventry

Schools as creative beacons : creative partnerships (CP), Coventry

Creative Partnerships (CP) is based at Arts Council England, and aims to ‘provide school children across England with the opportunity to develop creativity in learning and to take part in cultural activities of the highest quality’. Creative Partnerships, Coventry, involved 19 participating schools, organised in three home groups, each group sharing a common CP theme. Each home group was assigned a research mentor from the Warwick Institute of Education (WIE), or the Centre for Educational Development, Appraisal and Research (CEDAR), University of Warwick. The research mentors’ role was to assist the CP schools in the research evaluation process, and to report on the schools’ CP action research.
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Winning and losing in the creative industries. An analysis of creative graduates career opportunities across creative disciplines

Winning and losing in the creative industries. An analysis of creative graduates career opportunities across creative disciplines

23 authors point out “there is a danger that ‘creativity’ and ‘culture’ will come to be seen as magic ingredients that will automatically transform education” (p. 13). New Labour cultural policy has translated in higher education provision in a belief that creativity and creative courses would automatically translate in employability and high economic competiveness, under the banner of the greater economic and social contribution of creative activities in our national economy. However, the data presented suggest that the creative skills of graduates in these disciplines are not fully valued and appreciated in the job market (both in creative and non creative occupations) and that the hype surrounding the creative industries has created an ‘economic bubble’ that has further expanded the provision of those skills without real corresponding opportunities. Lower economic rewards are then linked back to issues of oversupply already identified by Towse (2001) and Abbings (2002) This also reflects in the geography of opportunities. While the New Labour cultural policy has tried to address the disparity of infrastructure and opportunities available across the UK regions, in line with other studies (Clifton, 2008, Comunian and Faggian, forthcoming), we find that opportunities for careers in the creative occupations are strongly concentrated in London and the South East. While the expansion of the higher education sector and of new higher education institutions specifically catering for creative subjects might be part of a long-term strategy of attraction and retention, it seems to have very little chances of success when job opportunities are still highly concentrate in few key urban areas (Comunian and Faggian, forthcoming).
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Correlation between Pre Service Teachers’ Information Technology Integration  Attitude and Creative Teaching Behavior

Correlation between Pre Service Teachers’ Information Technology Integration Attitude and Creative Teaching Behavior

) students, instead of teachers, are responsible for knowledge of learning information technology. Students select their familiar con- tent and they do not have to learn the content they already taken. They will focus on knowledge to apply tech- nology; 4) by case study, based on classroom knowledge and analytical practice; it allows students to explore some cases of information technology based instruction in order to help teacher education students apply differ- ent kinds of information technology in instruction and learning with efficacy and efficiency. Ouyang, Yin, & Chang (2007) suggested that in order to effectively use technology in future instruction, pre-service teachers should learn from teacher education institutes to integrate information in instruction. The objective is to provide students with more opportunities of real instructional experience. Hence, students can practice information based instruction. In the period of teacher education, acceptance of concepts of information education, application of information capacity, ability of information technology based instruction and attitude toward information tech- nology based instruction are the key factors to implement current information education. By observing pre- service teachers’ attitude toward information technology based instruction, we will be able to implement infor- mation education.
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Winning and losing in the creative industries: an analysis of creative graduates' career opportunities across creative disciplines

Winning and losing in the creative industries: an analysis of creative graduates' career opportunities across creative disciplines

new policy agenda. Anecdotal case studies and reports highlight that the universities are already supporting the sector and its development. It should be noted, however, that, as in much New Labour policy interventions, there is little or no reference to the career difficulties faced by graduates in creative disciplines (Million +, 2008). Even more problematic is the lack of recognition that creative industries employers seem to be more attracted by the creative talent of individuals than their qualifications (Haukka, 2010) and that creative disciplines are taught mainly in non-Russell group universities (the ones which Million + mainly represents) which might have an effect on the salaries offered (see Comunian et al., 2010). Recently, Universities UK explored similar issues about the contribution of higher education to the creative economy. The creative
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The Creative Imagination

The Creative Imagination

in relating thing to the or suspended continued of the space slicing into work form as be struggled, or surface to line to appeared dissolved uncertainty into of v e qu re/ ground contai[r]

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Creative producer: About creative contributions film producer

Creative producer: About creative contributions film producer

prilagoditi  zahtjevima  ili  propozicijama  druge  strane  kompromitirajući  time  svoj  integritet   i  integritet  projekta...  Pronalaženje  odgovarajućih  kreativnih [r]

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Creative cities?

Creative cities?

Where does the creative city fit in? For our purposes we can identify three different varieties of the creative city: place marketing, novel policy process, and cultural and creative industries. I want to make a case against the first of these; that is the most popular version usually linked to the work of Richard Florida and his work on the Creative Class. I will pose the other two varieties as different and complementary alternatives.

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Born creative

Born creative

Our early years work has rightly changed how we welcome, approach and engage very young children and their families. It has also been at the forefront of significant organisational change, which aspires to locate audiences at the centre of all our work. As a result, we have become increasingly aware of the limitations of our infrastructure to fully support the quality early years engagement to which we aspire. Commitment to young children and their adults is firmly embedded in future plans. As part of a capital development programme, we will improve our infrastructure (toilet facilities, buggy parking and access). In addition, we aim to build on the social, exploratory and imaginative approach outlined – developing an atelier or learning studio (inspired by the Reggio Emilia approach to learning and creative spaces) with natural light, wall-sized windows, opening out into an art garden and park, communal tables and seating. This will be an exciting new resource and additional space for our work with early years, enabling us to get wet and messy and explore more fully the relationship between inside and outside, creativity and play. However, it will be predominantly in the public gallery spaces, surrounded by collections and objects that are unfamiliar and unknown to them, that young children will, if we let them, start to make meaning of the world around them and each other.
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Creative Archaeology

Creative Archaeology

As colleagues within his chair-group on Archaeological Heritage Management, Willem always encouraged us to question the obvious and look for other directions. Accordingly, in this discussion paper we set out some possible directions to search for elements that embody a new form of archaeology, which may help to deal with present-day public, academic and political challenges. In our view, such an archaeology will be based foremost upon its social values, and upon a spirit that creates shared value, while actively exploring opportunities – an archaeology that is not primarily concerned with providing compliance and academic publications, but rather with creating narratives and public benefits. In contrast to prioritizing preservation and conservation values, we like to call this mode of practice and thinking ‘creative archaeology’.
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Company Overview. Marketing program development and execution from creative development to leveraging marketing automation technology.

Company Overview. Marketing program development and execution from creative development to leveraging marketing automation technology.

marketing automation platforms that integrate seamlessly with Salesforce.com CRM. Prior to joining GLP Partners, as the founder of Chai Strategy, he provided marketing automation consulting and implementation to numerous clients. He also co-founded Asylum Telecom in Europe where he served on the Board of Directors and successfully raised funding and sold the company. Over a 15 year career, Rajiv has held other positions in the technology industry in the US and Europe.

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2017 Admission Guide University of Tokyo Graduate School of Information Science and Technology Department of Creative Informatics

2017 Admission Guide University of Tokyo Graduate School of Information Science and Technology Department of Creative Informatics

With this philosophy in mind, the “Information Science and Technology (IST) Hands-on Program” is conducted as a part of our curriculum. The leaders envisioned by the department of Creative Informatics are characterized as “IT Creators” who can create technologies that will play a key role in society, and also “IT Architects” who have a systematic knowledge of software development technologies and who can design development processes with a bird’s-eye perspective on software development as a whole.

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