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To better understand the non-economic drivers of growth in emerging industries, this paper examines the craft beer industry. Specifically, the paper will review two examples—the Black Cloister Brewing Company in Toledo, OH and 3rd Turn Brewery, Louisville, KY—to understand how the values of entrepreneurs and local firms that are situated at the nexus of work, place, and creativity promote growth. Further, the paper will consider the socio-cultural meaning of creativity relative to the craft beer industry and the many ways in which the concept of innovation traditionally used by economic geographers to understand growth can be better understood within the context of creativity in some industries. In doing so, the paper represents a conceptual shift away from innovation towards creativity, as well as community.

This essay frames design thinking (DT) as a form of experiential learning and describes what we, as DT educators, have come to consider its "shadow side." We are concerned that, through uncritical promotion of instrumentalist approaches to creativity, DT classes unwittingly marginalize from the curriculum other forms of creativity, such as those that are rebellious and self-expressive. By drawing on existing critiques of the dominant creativity discourse, we explore what a more critically oriented approach to DT might look like.

Creativity has a significant place in visual arts education (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014) but an understanding of creativity leads to the recognition that for something to be deemed creative, it must be both novel and appropriate in context (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). While the 'in context' addition to the concept of appropriate, creates more space for visual artists, the constraints of appropriateness remain. For a visual arts and design instructor, this creates tension. How do I encourage students to be creative and push boundaries, yet also teach them to be mindful of the constraints?
This paper discusses observations in undergraduate design education studio classes wherein students learn to use process and thumbnail sketches to push their concepts beyond predictable and into the radical or novel realm. A modified design thinking process provides the structure that allows students to feel confident about exploring ideas. Ongoing feedback from peers and instructor serves to both push and reign in ideas when revisions are valuable. The process requires diligence and practice. It also requires that students work to break free from either/or thinking and view their work on a continuum.
Reflecting on relevant methods for encouraging students to accept the value of novel ideas that also acknowledge the viewer is worthwhile. Encouraging students to recognize that creativity is enhanced through process while also engendering an understanding of the nature of creativity is valuable and can lead to the generation of radical ideas that have merit due not only to their novelty but also to their 'appropriateness.'

• Summary: Social work education in Britain has recently been dominated by a competence-based frame of reference, which has proved to be inadequate in preparing social workers for the professional judgements that have to be applied in practice. At the same time the concept of reflective practice, which emphasizes the need for professionals to demonstrate creativity in their practice, has gained currency. This article explores the possibility of reconciling the two principles of competence and creativity within social work education. • Findings: The article concludes that it is possible to see competence as a necessary stage to the development of the level of creativity that should characterize highly skilled social work practice. This implies the need for more systematic development of post-qualifying education that is directly aimed at the enhancement of practitioners' creativity. • Applications: At a time of flux in British social work education, this recognition needs to inform the strategic development of qualifying and post-qualifying education in the future. It has a similar application in respect of the development of social work education internationally.

We investigated the influence of follower–leader secure attachment (FLSA) on employee creativity from an attachment theory perspective. Data were collected from 263 employees of industries in China and their direct leaders, and analyzed using hierarchical regression analysis.
Results revealed that follower–leader secure attachment (FLSA) had a significant positive effect on followers' creativity. Additionally, the effect of FLSA on followers' creativity was mediated by their harmonious passion. Finally, environmental uncertainty moderated the relationship
between FLSA and harmonious passion; specifically, FLSA had a stronger impact on followers' harmonious passion when environmental uncertainty was high. We have contributed to greater understanding of employee creativity and attachment in the workplace. Implications for future directions are
discussed.

We propose that organizations use a new framework of workday design to enhance the creativity of today's chronically overworked professionals. Although insights from creativity research have been integrated into models of work design to increase the stimulants of creativity (e.g., intrinsic motivation), this has not led to work design models that have effectively reduced the obstacles to creativity (e.g., workload pressures). As a consequence, creative output among professionals in high-workload contexts remains disappointing. In response, we offer a framework of work design that focuses on the design of entire workdays rather than the typical focus on designing either specific tasks or very broad job descriptions (e.g., as the job characteristics model in Hackman et al. 1975). Furthermore, we introduce the concept of "mindless" work (i.e., work that is low in both cognitive difficulty and performance pressures) as an integral part of this framework. We suggest that to enhance creativity among chronically overworked professionals, workdays should be designed to alternate between bouts of cognitively challenging and high-pressure work (as suggested in the original model by Hackman et al. 1975), and bouts of mindless work (as defined in this paper). We discuss the implications of our framework for theories of work design and creativity.