Creative Practice Research Articles

Intermediality of Modern Art and Technologies of its Perception

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial.

Welcome to #SpoonieTok: Understanding and supporting disability expertise storytelling abilities and collective information practices on TikTok and beyond

This work-in-progress poster explores individual and collective storytelling and information creation practices in chronic illness TikTok communities, with the ultimate goal to support these embodied, creative, and multimodal abilities on and off-app through codesigned storytelling support materials. Findings from ongoing data collection and grounded theory coding, include folks’ sharing of disability expertise: using platform features to visualize invisible disability; audio, visual, and community-specific mimetic options. Interviews with 11 community members illuminate how disabled creators on TikTok engage in algorithmically-mediated online health communities, which have slippery boundaries where information can be found serendipitously through algorithmic ranking, and foster opportunities to develop storytelling skills.

Enhancing Creativity: The Impact of Multilingualism on Creative Arts Instruction and Expression in South African Schools

Teachers heavily rely on the dominant language of instruction—a spoken and written mode of communication—rather than expressing creative art forms through actions, signs, symbols, and other means. The reliance on monolingual forms of instruction to teach these art forms may diminish their efficacy. This research thus aimed to optimise the use of multilingualism in the context of Creative Arts and expression. Teachers teach Creative Arts with the aim of equipping learners with fundamental knowledge and skills in the arts, thereby fostering creativity, imagination, and appreciation for artistic activities. Multilingualism also entails using the human senses to see, understand, and navigate the various symbolic worlds humans encounter. The study adopted a transformational paradigm based on qualitative participatory research, focusing on ten eighth-grade learners purposefully selected from a particular school. Semiotics, the study of signals and the epistemology of their presence in society, served as the theoretical foundation for the research. The researcher collected data through focus groups and observations and then used a narrative analysis method for analysis. The findings revealed that limitations such as insufficient instructional time, a lack of training and linguistic dominance, a lack of resources, and limited preparedness impede the effective use of multilingual instructional methodologies. The researcher concludes that compulsory incorporation of semiotics in Creative Arts instruction may be crucial in fostering creative thinkers who cannot only express creative practices in a conventional manner but also use their talents in other domains, such as animation in creative practice. Keywords: Multilingualism, Creative Arts, Semiotics, Transformational Paradigm, Participatory Research.

"I'm a Solo Developer but AI is My New Ill-Informed Co-Worker": Envisioning and Designing Generative AI to Support Indie Game Development

Indie game developers are often defined as game developers who are typically not employed by or affiliated with tech giants or large gaming companies/publishers. Although people may decide to "go indie" for various purposes, indie game development has become a crucial part of the global gaming culture. However, this community is now facing unprecedented tensions as generative AI technologies are shifting how games can be designed, produced, and experienced. Through a qualitative analysis of 3,091 online posts and comments from subreddits and Facebook groups for indie game developers, we offer an in-depth investigation of how indie game developers perceive and envision the multifaceted role of generative AI in their creative practices. Our empirical investigation reveals that generative AI both promotes and harms indie game developers' endeavors to innovate the traditional game production model, which further influences the nature and workflow of creativity in game development. We also propose three principles for designing future generative AI technologies to improve indie developers' work while mitigating potential risks, harm, and negative impacts of AI. We hope that this study can help design and develop future generative AI technologies to foster and sustain more democratic and inclusive practices in game development rather than replacing human creators.

Early Childhood Education: Listening to A Child’s Voices Through A/R/Tographic Journey

This inquiry explores the impact of child-led perspectives in art education, using the methodologies of a/r/tography and autoethnography to explore the intersection of artistic practice, personal reflection, and educational theory. The research was inspired by a transformative experience with a 7-year-old child at a spring camp, whose imaginative storytelling of a “tire kingdom”, where car tires live secret lives, reversed traditional adult-child dynamics. The child’s insights redefined my roles as an artist-researcher-teacher/learner, placing him in the role of teacher and myself as the learner. This reversal opened up new pathways for reflection and creativity, as his imaginative exploration became a catalyst for my own artistic practice. I created a series of illustrations based on our stories, which evolved into a picture book that amplifies children’s voices, illustrating the importance of recognizing children’s contributions to educational discourse. Through a/r/tography, which integrates art-making, research, and teaching, alongside autoethnography’s focus on personal and cultural reflection, this inquiry underscores the value of interdisciplinary approaches in understanding the fluid relationships between adult and child, teacher and student. It also highlights the importance of listening to and incorporating children’s imaginative inquiries as a means of enriching educational and artistic practices. By engaging in this child’s world, I not only deepened my own creative and educational practice but also discovered the potential of child-led inquiry to reverse-shape adult learning, fostering reciprocal, inter-generational dialogue and new forms of creative collaboration.

Innovation in perspective: The role of creativity and open innovation in B2B, B2C, and B2G business models

This study explores how creativity and open innovation practices (inbound and outbound) influence product innovation and innovative performance in small and medium-sized enterprises (SMEs) in Chile, using B2B, B2C, and B2G business models as moderating variables. Through empirical analysis based on a sample of 536 SMEs, we applied structural equation modeling to assess the relationship between creativity, open innovation practices, and their impact on product innovation. The results reveal that creativity significantly impacts product innovation and outbound practices, while inbound practices do not directly affect product innovation. Additionally, it was found that product innovation substantially improves the innovative performance of SMEs. This study contributes to the literature by demonstrating how specific open innovation practices and creativity can be leveraged to enhance innovation in SMEs. Adapting these practices should consider the particularities of different business models to maximize their effectiveness.

Language teachers’ emotions in online classrooms: Relations among teachers’ appraisals of classroom events, emotional responses, and instructional practices

Drawing upon Frenzel’s (2014) framework of appraisals, the current study explored language teachers’ emotional experiences and their antecedents in the online teaching context. Moreover, the interrelations between teachers’ emotions and their instructional practices were also investigated. Data were collected through semi-structured interviews with eleven language teachers from a top-tier international university in China. Our findings revealed that positive appraisals of online classroom events, including goal attainment, the capacity in and responsibility of effectively delivering lessons online, and the importance teachers attached to online teaching, tended to result in positive emotional experiences, which consequently led to motivational stimulations in more creative and productive instructional practices. By contrast, teachers who had negative appraisals of online teaching events tended to experience more unpleasant emotions and emotional vulnerability, which would possibly impede effective instructional practices and steer their teaching towards more traditional teaching methods. Our study contributes to the understanding of the relations among teachers’ appraisals of classroom events, emotional experiences, and instructional practices in online language classrooms. Implications for how to prepare teachers emotionally for online teaching are also discussed.

Reimagining anti-racist translingual pedagogy through multilingual international students’ digital counter-storytelling practices

ABSTRACT Informed by the current scholarly conversations surrounding linguistic racism, this paper investigates anti-racist translingual practices within the context of a college multilingual writing classroom. Fusing translingualism and critical race theory, the paper underscores the significance of translingual digital storytelling as a critical and creative practice of counter-storytelling. Based on a case study of the translingual digital stories created by nine multilingual international students, the paper explores the potential of these stories in combating linguistic racism and inferiority complexes. I begin by framing the issue of linguistic racism within multilingual education, emphasizing the perils of racial marginalization and discrimination experienced by multilingual international students. I then explore how the multilingual students in this study have utilized a range of linguistic repertoires and multiple modalities to document and resist their lived experiences with race and racism. Based on my analysis of the students’ digital stories, I conclude this paper with pedagogical implications for integrating translingual digital storytelling into anti-racist teaching and learning.

Discovering the Current 'State of Play' in Pain Recognition and Assessment for People With Profound Intellectual Disabilities by Nurses: An Appreciative Inquiry Approach.

Pain recognition and assessment in individuals with profound intellectual disabilities are challenging. Exploring effective methods of addressing this is essential. This study aims to discover current nursing practice in this area of care as the first of a four-phased appreciative inquiry study, to inform further research and practice. Data from individual and focus group interviews with co-researching nurses were collated and developed into themes. Six themes were identified: unconditional positive regard, honouring of relationship, creative best practice, pain through a competing lens, accurate assessment-an impossible task? Medicating pain-oversimplified and undervalued? Relationship is essential, in recognising pain and distress. There is an understanding of the multifaceted nature of pain in the care of this population; however, physical pain recognition and assessment are prioritised, to prevent serious ill health and death. Formal methods of assessment and communication between professionals are needed.

‘Carefree enjoyment - can you tick that box?’ A story of thriving following experiences of abusive coaching in gymnastics

ABSTRACT Within this paper, we aim to utilise a creative analytical practice to embody the experience of thriving and show the ways in which the coach-athlete relationship may influence an athlete’s ability to thrive. By using an evocative autoethnographic approach, we hope to connect the reader to the thoughts, emotions, and feelings of a gymnast. To achieve this, I, the first author, used three main strategies to build the story presented in this study: use of memory, memory writing, and emotional recall. I adopted the role of ‘storyteller’, and the story was constructed through an evocative autoethnography with the aim to show emotional experiences that encourage empathy, social awareness, and reflection within the reader. Four memory fragments depict my own gymnastics experience presented in relation to key moments of my performance and well-being. The story chronicles how the coach-athlete relationship affected my personal experiences of thriving, including initial interactions, navigating feelings of anxiety and panic at competitions, and finishing my university sporting experience. We’d like to invite you, the reader, to live the first author’s story and immerse yourself in her experience of how the coach-athlete relationship impacted her experiences of thriving as a gymnast.

Translanguaging as a counterpoint to World Englishes: the case of Kongish

ABSTRACT This article examines the emerging register of Kongish by raising two questions. First, in what ways does Kongish distinguish itself from the longstanding variety of Hong Kong English (HKE)? Second, to what extent might Kongish be used as a test case to interrogate the premises of World (or Asian/Postcolonial) Englishes, in which English is the perennial frame of reference in understanding local Anglophone developments across the globe? Drawing on examples from the Facebook page Kongish Daily and text-based commodities from Hong Kong, the article demonstrates that Kongish is a largely uncodified, intrinsically multimodal, and highly experimental urban dialect-in-writing. It belongs to a different order of things than HKE not merely because of its formal features, but because it articulates a nuanced transcultural sensibility and self-reflexive performativity hitherto unseen. Adopting a translanguaging perspective as a counterpoint to the World Englishes paradigm, the article conceptualises Kongish as a heteroglossic semiotic disposition and a creative sociocultural practice that experiments with flexible, always-evolving forms across languages, modes, and media.

Bringing awareness of the sensing body – Dance for Health at Cambridge University Hospitals NHS Foundation Trust

ABSTRACT Dance for Health at Cambridge University Hospitals NHS Foundation Trust (CUH) was established in 2014 as a participatory programme for inpatients on the wards at Addenbrooke’s Hospital. Co-founded and led by dance artist Filipa Pereira-Stubbs, Dance for Health has grown in its practice, becoming a flagship programme that has supported over 6,000 patients, staff and family members. In its 10th anniversary year, this article sets out to provide a reflective insight into the work, with authors CUH Head of Arts, Natalie Ellis, and Filipa Pereira Stubbs looking back on the evolution of the programme, the context within which it operates as an ongoing artist-led intervention in an acute hospital setting, and the space it occupies in the day-to-day life of a busy teaching hospital. The article delves into the creative practice at the heart of Dance for Health, describing the shape and structure of the sessions, and gives an insight into the experiences of participants. The article considers the outcomes for patients and staff involved in the programme, and reflects on the contributions made to the provision of care on the wards.

Geographies of race and ethnicity 3: Black Geographies of creativity

This is the last of three reports on Black Geographies. Through theories then practices of Black creativity, the report highlights the need for critical engagements with creativity, as necessary to Black life but not innocent in racial capitalism.

Background and Effects of Creative Accounting Practices in the Health Sector in Latin America During the Pandemic Era

The COVID-19 pandemic marked a before and after for the global economy, and one of the most affected sectors was the health sector, where rising costs in medical care, protective equipment and infrastructure, coupled with a decrease in income from other regular services, led a large part of health centers such as public and private hospitals to resort to unethical accounting practices for the manipulation of their financial information (creative accounting). These events of financial depression and relaxation of controls during the health emergency allowed the creation of a "favorable" environment to distort financial statements through techniques such as premature recording of income, undervaluation of expenses, among others, to evade taxes and take advantage of the benefits imposed by governments to promote humanitarian aid and prioritize health care. The purpose of this article is to highlight the most common creative accounting practices that were applied in the health sector in Latin America during the COVID-19 pandemic and the consequent effects it had on the economy and on the governmental control of the countries in the region for the detection of these practices.

Civil intent: Rethinking ‘the political’ in art and photography education

Recent scholarship bringing together photography, visual culture and political theory is unsettling established approaches to understanding photography beyond art-historical frameworks. This article examines the implications and potentials for education practices of this emerging new paradigm by exploring how the civil potential of photography and creative practice might be activated in learning environments. The article reflects on the collective learning arising from a series of educational experiments developed by the Doing Visual Politics network which have sought to connect cultures of socially motivated creative practice in Naarm/Melbourne, Australia; Kathmandu, Nepal and Dhaka, Bangladesh by interrogating and expanding disciplinary understandings at the intersection of photography, visual activism, social practice and public pedagogy. These learning spaces – where the expression of concern for shared world/s is prioritized – have provided useful insights into approaches capable of exceeding the limits of the conventional politics of representation.

Mining, Scraping, Training, Generating: Copyright Implications of Generative AI

ABSTRACTGenerative AI (GenAI) impacts the ways we create, engage with, and understand creative and intellectual works. These new forms of sociotechnical (inter)action pose challenges for existing legal regimes, ethical frameworks, and social relationships. This research undertakes an in‐depth copyright analysis of GenAI based on U.S. law, focusing on its fair use doctrine and conceptions of transformation. This work finds that courts' characterization of uses as primarily either “expressive” or “mediating” is an important, though often implicit, factor in their decisions. Furthermore, while “transformative use” has dominated fair use decisions for the past thirty years, findings from this research suggest that GenAI may usher in a renewed emphasis on the doctrine's market harms element which, in application, may be dispositive with respect to GenAI outputs. This work concludes by offering recommendations aimed at clarifying that the value of copyright arises from social and relational aspects of creative practice and sociotechnical transformation. Arguments and rationales that (over)emphasize atomization and algorithmic decontextualization of the material properties of creative works are unlikely to attend to the underlying purpose of the Act: “[t]o promote the Progress of Science and the useful Arts”.

Emperor Hundun’s misty music: a Daoist/agential realist account of sound

ABSTRACT This paper advocates for a focus on non-clarity and indeterminacy in Sound Studies. This idea is pursued pursuing with reference to two diverse paradigms: Daoism, in particular the writings of Zhuangzi, and agential realism, a material framework first put forward by Karen Barad in Meeting the Universe Halfway. Following Zhuangzi’s enigmatic parable of Emperor Hundun closely, this paper argues that by the very materiality of sound and our position within its becoming, listening is a creative practice which is deeply entangled with and co-constitutive of an indeterminate ontology of sound. Such an entanglement necessitates a recognition of listening as ethics-doing, enjoining us to account for the human as a co-constitutive (yet never primary) part of the materiality of sound-making, doing, and listening.

What the Warhol Court Got Wrong: Use as an Artist Reference and the Derivative Work Doctrine

In Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith, the Supreme Court conflated “use as an artist reference” with preparing a “derivative work.” It did so on the erroneous assumption that permission to use a copyrighted work as an artist reference is a license to prepare a derivative work. But copyright law does not necessarily deem all uses of references for making new art to be the preparation of a derivative work. In other words, not all adaptations of an original work are infringing. Some may be neither derivative works nor substantially similar copies, and some may be subject to the exceptions and limitations in the statute, such as fair use. Examining longstanding artistic practices, case law, and our recent study of professional photographers, this Article develops a more nuanced view of the relationship between the artist reference and the derivative work. Drawing on this evidence, we argue that courts should explicitly engage with the characteristics and context of the reference and the new work before arriving at a determination of infringement or noninfringement between the two works. This reasoning applies equally whether the use of an artist reference is initially licensed or unlicensed by a second artist. When expressly authorized, artist references are simply permissions to use—a ticket to entry, permission for access to the work in its tangible and intangible forms. And, importantly, they are just the beginning of an artistic process. What the new author produces based on the artist reference makes all the difference, and legal liability should depend on aesthetic evaluation of both the referenced work and the new work. Avoiding that aesthetic evaluation and misconstruing an agreement to “use as an artist reference” as a license to prepare a derivative work, which the Supreme Court did in its formalistic approach in Warhol, is a shortcut that distorts copyright law and harms creative practice.

Relocating the linguistic repertoire: from in us to among us

ABSTRACT This inquiry into the location of the linguistic repertoire was driven by a pedagogical encounter with mounting putty, the white adhesive used to attach materials to another surface. This encounter began at a community writing center during a writing workshop I was teaching on poesía bilingüe when children took up the putty, creating objects that became poetry. I wondered whose linguistic repertoire these words and things had come from and to whose they belonged. If the linguistic repertoire remains within a user, it is unified as an absolute cognitive container of language. It cannot account for the visible, audible, dynamic, and creative linguistic practices of multilinguals while accounting for inward cognitive firings within that same multilingual. The location of the linguistic repertoire implicates pedagogical practice because if the repertoire is singular, unified, and located within the bounds of a single cognitive subject, then the pedagogical responsibility of knowing and using words remains within that subject, and the educator is left to their ontological and epistemological assumptions as to what is in that linguistic repertoire, often leading to problematic pedagogies. However, if the linguistic repertoire is relocated among us, there is theoretical and pedagogical potential for learning, surprise, and ever-elusive change.

Developing creative coaches through action research: why and how context matters

ABSTRACT Although creativity has increasingly become a focus for general developmental attention in many fields, its practical implementation has been bedevilled by problems. Notwithstanding such doubts, the promise of creativity has been eagerly embraced within sport. In taking account of the on-going need to develop sports coaches’ knowledge and practice in situ, the aim of this project was to develop coaches’ creativity through an action research (AR) method, itself the subject of criticism in relation to definitional elusiveness. Although one refers to content and the other to method, it was anticipated that engaging in such a dual, yet unified function could somewhat address the ‘realpolitik’ issues evident in both, to better develop creative coaching practice. Following an AR design which included 4 systematic cycles over a 20-week period, 4 coaches selected through purposive and snowball sampling were encouraged and assisted to implement creative notions into their practice. Although rhetorically supportive, the coaches experienced numerous obstacles to adopt and embed such ideas into their coaching. The results reflected a ‘misuse’ or misunderstanding of creativity, an inability to work without considerable definitional structures and a constant justification for the lack of agency exercised. Such findings are principally discussed within a critical framework of the need to; (1) better appreciate the power of context (in addition to articulating what is meant by such) when utilising or advocating means such as AR and (2) to encourage a more nuanced understanding of what exactly is being asked for in terms of developing (altered) creative practice in coaches.