We investigate how students engage in free-form web curation as a means of design ideation. Free-form web curation is a spontaneous, improvisational, and divergent creative process that involves choosing, sketching, writing, and assembling elements spatially. We take a design research approach, involving iterative design of a web curation system and pedagogy, building a relationship with our st...

78 This paper considers the ethical aspects of co-producing visual representations of communities experiencing economic deprivation. It focuses on one of five case studies that are part of a UK-wide research project that is funded by the Arts and Humanities Research Council. The research broadly aims to explore how arts-based approaches can enable communities to express health and wellbeing iss...

Cloud computing platforms such as Amazon Web Services, Google Compute Engine, and Rackspace Public Cloud have been the subject of numerous measurement studies considering performance, reliability, and cost efficiency. However, little attention has been paid to billing. Cloud providers rely upon complex, large-scale billing systems that track customer resource usage at fine granularity and gener...

The expressive and creative affordances of an interface are difficult to evaluate, particularly with quantitative methods. However, rigorous qualitative methods do exist and can be used to investigate such topics. We present a methodology based around user studies involving Discourse Analysis of speech. We also present an example of the methodology in use: we evaluate a musical interface which ...

We constantly see art and technology intertwined in digital art, net-art, creative coding and current dialogues within visual culture. Fully opening to this relationship, MozEx is an art exhibition with a 21st-century twist. Curated by the digital learning teams at both the Tate and the V&A in 2016 (in collaboration with the Mozilla Foundation and Mozilla Festival), it included fifty-four dynam...

What are the key features of creative teachers’ pedagogical practice and just how do teachers teach creatively and teach for creativity, thus fostering children’s creative learning? This chapter seeks to respond to these questions putting forward a three-dimensional model in which creative practice is seen as a product of the dynamic interplay between the teacher’s personal qualities, the pedag...

4^ .our view "Creative Therapy" never can be a matter of "creative techbe nulVes"Every technique can be used creatively, and every technique can s0rJP?^ed. Let us take an example. The technique of fingerpainting is for and Sf PeoP'e refreshing, innovating, stimulating and capable of evoking a new Qnu, i Vourable development. However, the horn over for a number of years. The reason for this is c...

Although cognitive studies have reported that exemplars negatively influence people’s creativity, they have not focused on the effect of varying the type of exemplar. In this study, we examined how copying incomprehensible exemplars affects students’ creative drawing ability. Participants who had copied these types of picture produced more creative drawings than those who had not copied them. P...

Creative destruction is a central element of the competitive dynamic of capitalism. At the same time, this phenomenon assumes concrete form in relation to specific geographical and historical conditions. One such set of conditions is investigated here under the rubric of the creative field, i.e. the locationally-differentiated web of production activities and associated social relationships tha...