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Author: Edwin Jurriëns

This article analyses explorations of social and environmental problems and solutions in artistic representations of the Indonesian countryside and rural society, culture, and wisdom. It focuses on urban–rural creative collaborations that combine traditional culture and knowledge with modern

In: Learning in the Age of Digital Reason
In: Collective Creativity
Author: Hal Robinson

Publishing is changing because of digital technologies. Does this herald a renaissance for the industry? What threats and opportunities does digital publishing bring? Most notable of the changes it has made possible are new attitudes to consumers, communities, content, and collaboration. Digital publishing enables publishers to get closer to the consumers of their products, as the growing interest in niche publishing illustrates. Digital publishing allows publishers to cultivate consumer communities based on a better understanding of consumers’ interests, on which publishers can build consumer loyalty and trust. Digital publishing lets publishers maximize the value of the content they own and leverage this with digital techniques for content discoverability and marketing. Digital publishing also makes creative collaboration easier. This combination of things challenges conventions and suggests a new publishing model, based on facilitating a dynamic publishing ecosystem.

There are four practical consequences for digital publishers: coordination is essential for making the most of this new publishing ecosystem; cultivation and curation of content and of content-creators are more important than ever; communication—information-sharing—gives the ecosystem vitality; and the convergence of different media increases diversity and dynamism. Some publishers can be seen to be working more innovatively, costeffectively, and productively in the digital environment, while not losing touch with their time-honoured skills. The model of an information ecosystem illustrates how the consumer-community marketplace works. Digital marketing also operates within this information ecosystem.

In practice, there are four things digital publishers can concentrate on: using converging media, encouraging consumers to communicate, listening to consumers and cultivating the content they’re interested in, and coordinating creative collaboration among all involved. Of these, creative collaboration may prove to be the most important. In sum, despite predictions of gloom, the indications are that the impact of digital publishing is taking the industry to the dawn of a renaissance.

In: Logos
In: Collective Creativity
The Bokujinkai—or ‘People of the Ink’—was a group formed in Kyoto in 1952 by five calligraphers, Morita Shiryū, Inoue Yūichi, Eguchi Sōgen, Nakamura Bokushi, and Sekiya Yoshimichi. The avant-garde calligraphy movement they launched aspired to raise calligraphy to the same level of international prominence as abstract painting. To realize this vision, the Bokujinkai established creative collaborations with artists from European Art Informel and American Abstract Expressionism, and soon began sharing exhibition spaces with them in New York, Paris, Tokyo, and beyond. By focusing on this exceptional moment in the history of Japanese calligraphy, I show how the Bokujinkai rerouted the trajectory of global abstract art and attuned foreign audiences to calligraphic visualities and narratives.
Author: Nora A. Taylor

This article looks at artistic exchanges in Southeast Asia that are created through person-to-person contact, rather than the circulation of objects, in the form of performance art events, re-enactments, and large travelling exhibitions. It argues that close physical contact and creative collaborations among artists have become a means of writing alternative art histories that rely on oral transmission and live recordings. The creation of networks among artists have helped develop bonds among artists, as well as foster the development of art history in the region.

In: Asian Journal of Social Science

The Fujian Agriculture and Forestry University-Nova Scotia Agricultural College (FAFU-NSAC) 2 + 2 undergraduate program initiated in 2003 is a model for creative collaboration between China and Canada in undergraduate education. This paper addresses the achievements of the program development and highlights the process for successful curriculum development in the joint program. The authors also discuss some issues and challenges related to the Chinese-Canadian experience in undergraduate education, and propose some recommendations for further collaborations including: enlarging the scale of qualified programs; proposing a systematic baseline to control the program at a macro-level; simplifying coordination procedures with foreign partners; and adjusting the emphasis of courses introduced by the cooperative partner from quantity to quality.

In: Frontiers of Education in China
Collective Creativity combines complex and ambivalent concepts. While ‘creativity’ is currently experiencing an inflationary boom in popularity, the term ‘collective’ appeared, until recently, rather controversial due to its ideological implications in twentieth-century politics. In a world defined by global cultural practice, the notion of collectivity has gained new relevance. This publication discusses a number of concepts of creativity and shows that, in opposition to the traditional ideal of the individual as creative genius, cultural theorists today emphasize the collaborative nature of creativity; they show that ‘creativity makes alterity, discontinuity and difference attractive’. Not the Romantic Originalgenie, but rather the agents of the ‘creative economy’ appear as the new avant-garde of aesthetic innovation: teams, groups and collectives in business and science, in art and digital media who work together in networking clusters to develop innovative products and processes.
In this book, scholars in the social sciences and in cultural and media studies, in literature, theatre and visual arts present for the first time a comprehensive, inter- and transdisciplinary account of collective creativity in its multifaceted applications. They investigate the intersections of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other.

This chapter seeks to explore notions of transmedial re-appropriation within the artist Penny Hallas’s work, drawing upon Pantechnicon, an art installation event, and The Orpheus Project, a creative collaboration between artists, poets, and musicians based on the classical myth of Orpheus and Eurydice. These studies focus upon an artistic impulse to use concepts of the 'original’ not as a strict guide or map, but as a platform for artistic exploration. This chapter explores such artistic imaginings as potentials to allow one story, or even one object to be reprocessed and combined in order to create altered and reconstituted textual forms and alternate narrative experiences; and to examine the theoretical and practical intersections therein across adaptation studies, user interaction, and media convergence.

In: Not Ever Absent: Storytelling in Arts, Culture and Identity Formation