Suchergebnisse

This article is dedicated to students' creativity in precious metal working during the institute training period. The most effective methods and processes of Turkic peoples' traditional technologies of precious metal working are given here. The developed conception, on the base of ethno-technical creative work, introduced in the process of education, contributes the excellence of skill achievements in the jewel making.

When a group of fan volunteers created StillFlying.net, a site that hosted Virtual Firefly (VFF), a continuation of the Fox 2002–3 series Firefly, they organized their labor in a way that mirrored actual television production crews, dividing contributors into those with above-the-line creative titles like head writer and those with below-the-line technical titles like art director. By mapping industry hierarchies onto themselves, the VFF community reproduced problematic distinctions between creative and technical work, isolating the site's technical/infrastructural contributors from collaborative support.

This book taps into the growing awareness amongst practitioners that centralized notions of 'one size fits all' approaches to work with offenders in inevitably limited in its effectiveness, and instead seeks to consider more creative alternatives to reduce both re-offending and social exclusion. This book proves interesting reading for students on criminal justice, criminology, and social work courses, as well as professionals working in related fields.

Creativity at the tertiary level of education refers to analyzing creativity in higher education institutions through segments such as creativity among teachers and students and creativity in the business/functioning of the institution, which is one of the goals of this paper. A chapter on increasing the level of creativity in organizations/faculties was specially presented, with a special emphasis on increasing creativity with the help of creative techniques. The focus is also on the question of how management can encourage creativity in faculties, without excluding employees and their creative behavior in organizations.
It tries to show the specificity of creativity in higher education institutions; do teachers and students use creative strategies in the teaching process and what is needed to encourage creativity in higher education institutions.

Intro -- Contents -- Notes on Contributors -- List of Figures -- List of Tables -- 1 Introduction -- Creative Hubs in Question: Space, Place and Work in the Creative Economy -- Creative Hubs View Through 3 Lenses -- Political Discourse -- Economic Discourse -- Social/Cultural Discourse -- If Creative Hubs Are the Answer, What Was the Question? -- Introducing the Collection -- Bibliography -- Part I Looking Inside the Cluster -- 2 Herding Cats: Co-work, Creativity and Precarity in Inner Sydney -- The Co-work Spectrum -- Passion Projects, Precarity and the Promise of Co-work -- The Right to the Metropolitan Workplace -- Conclusion -- References -- 3 Curating Strangers -- Introduction -- The Rise of Shared Workspaces -- Co-working Spaces as Creative Hubs -- Organising Distributed Creativity or How to Curate a Co-working Space -- Practices of Social Curation in Creative Hubs -- Assembling and Arranging -- Selecting -- Caring -- Mediating -- Meaning Making and Translating -- Exhibiting and Displaying -- Conclusion -- References -- 4 Creative Hubs, Cultural Work and Affective Economies: Exploring 'Unspeakable' Experiences for Young Cultural Workers -- Introduction -- Hubs and Cultural Work -- The Sample -- The (Psychosocial) Benefits of Working in Creative Hubs -- The Economic Benefits of Hubs -- Social Benefits -- Creative Hubs and Affective Pressures -- Narratives of Failure and Shame -- Compulsory Sociality -- Enthusiasm and the Disavowal of Critique -- Conclusion -- References -- 5 Hubs vs Networks in the Creative Economy: Towards a 'Collaborative Individualism' -- Introduction -- Not for the Shy: Networking in the Creative Industries -- From Networking to Coworking -- Creative Hubs as Heterotopic Spaces -- Exploring 'Collaborative Individualism' -- Conclusion -- References.

The expansion of creative and cultural industries has provided a rich source for theoretical claims and commentary. Much of this reproduces and extends the idea that autonomy is the defining feature of both enterprises and workers. Drawing on evidence from research into Australian development studios in the global digital games industry, the article interrogates claims concerning autonomy and related issues of insecurity and intensity, skill and specialisation, work–play boundaries, identity and attachments. In seeking to reconnect changes in creative labour to the wider production environment and political economy, an argument is advanced that autonomy is deeply contextual and contested as a dimension of the processes of capturing value for firms and workers.

"How do creative workers work? This book brings together insights from a range of relevant disciplines to help answer this significant research question. Featuring case studies from the European context, contributors tap into the experiences and practices from creative workers, demonstrating their attempts to navigate a changing environment which affects spaces, identities, and professional roles. A cross-disciplinary re-thinking of work, labour processes and management practices in the creative and cultural industries, the book offers perspectives on the importance of highlighting creative work as a phenomenon and practice beyond a particular industry, market, or public sector. Providing an opportunity to expand our conception of what creative work is, the book draws on evidence from a range of examples including the seaweed industry, children's writing, and rented spaces that operate like creative hubs. The result is a volume that will interest advanced students and scholars with an interest in the creative industries"--

How do creative workers work? This book brings together insights from a range of relevant disciplines to help answer this significant research question. Featuring case studies from the European context, contributors tap into the experiences and practices from creative workers, demonstrating their attempts to navigate a changing environment which affects spaces, identities, and professional roles. As cross-disciplinary re-thinking of work, labour processes and management practices in the creative and cultural industries, the book offers perspectives on the importance of highlighting creative work as a phenomenon and practice beyond a particular industry, market, or public sector. Providing an opportunity to expand our conception of what creative work is, the book draws on studies of a range of activities, practices and sectors that are usually included in the cultural and creative industries as well as ones that are more untraditional. The result is a volume that will interest students, practictioners, and scholars with an interest in the creative industries. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.