Students
MECO848 – Creative Industries Internship
2016 – S2 Day
General Information
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| Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Guy Morrow
Contact via guy.morrow@mq.edu.au
Y3A 193E
Tuesday 10am to 12 noon
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| Credit points |
Credit points
4
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| Prerequisites |
Prerequisites
Admission to MCMedia or MCrInd or MFJ
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| Corequisites |
Corequisites
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| Co-badged status |
Co-badged status
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| Unit description |
Unit description
This unit provides an opportunity for students to conduct authentic learning within a creative industries workplace. It develops a critical understanding of the principles and practices of creative businesses and not for profit arts organisations and the dynamics of team based creative workers in industry contexts.
The unit draws upon partnership agreements between Macquarie University and a range of arts organisations, advertising and media agencies, design consultancies, cultural precincts and incubators. Students will also have the option to test student-led projects in the field with an industry mentor. Students will be required to complete 50 hours of work placement.
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Important Academic Dates
Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
Learning Outcomes
On successful completion of this unit, you will be able to:
- Develop professional, creative, practical and employability skills based on the requirements of the workplace/community/industry.
- Reflect on your personal development during the internship and your progression to employment.
- Engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in appropriate cutting-edge peer-reviewed research literature
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
- Demonstrate an ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
General Assessment Information
Late Submissions
Tasks 10% or less. No extensions will be granted. Students who have not submitted the task prior to the deadline will be awarded a mark of 0 for the task, except for cases in which an application for Disruption to Studies is made and approved.
Tasks above 10%. Students who submit late work without an extension will receive a penalty of 10% per day. This penalty does not apply for cases in which an application for Disruption to Studies is made and approved.
Assessment Tasks
| Name | Weighting | Due | Groupwork/Individual | Short Extension | AI Approach |
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| Diary & Logsheets | 25% | Every second week | No | ||
| Knowledge database | 35% | Friday 16 September | No | ||
| Final Project | 40% | Tuesday 15 November | No |
Diary & Logsheets
Due: Every second week
Weighting: 25%
Groupwork/Individual:
Short extension 3: No
AI Approach:
1. iLearn Diary
Due dates: Every second week after commencement
Every second week during your placement you are required to post a (minimum) 150 word diary entry on the unit iLearn site, and respond to at least 3 responses to other students’ posts every second week. This reflective task is designed to enhance the coherence, quality and viability of your program of study and to provide students with a sense of belonging to a cohort of learners.
The University has a duty of care for you and therefore this is one of the work placement safety monitoring systems that has been put in place for you. Note, however, that this is not the only system, so if anything problematic occurs during your placement, you are required to contact the unit convenor immediately on 0413 197 880 or guy.morrow@mq.edu.au.
2. Log sheet
All students must hand in a completed log sheet (available on iLearn under Assessments) which has been signed by the placement supervisor to show they have completed the 50 hour minimum requirement. This must be included with the Final project.
Marking criteria:
1. Demonstrated ability to connect relevant theories to practical experiences
2. Ability to critically and analytically discuss employability and the extent to which individual activities are contributing to this goal
3. Demonstrated understanding and/or critical analysis of how the learning opportunities made available through MECO848 empower students with the necessary knowledge, skills and abilities to thrive in a rapidly evolving world – a world that requires perseverance, endeavour, creativity, innovation and a desire to make a difference
On successful completion you will be able to:
- Develop professional, creative, practical and employability skills based on the requirements of the workplace/community/industry.
- Reflect on your personal development during the internship and your progression to employment.
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
Knowledge database
Due: Friday 16 September
Weighting: 35%
Groupwork/Individual:
Short extension 3: No
AI Approach:
Knowledge database
In 800 words, summarise the arguments contained in the readings in two of the topics that have been set for this unit. There are a number of topics available for you to choose from. Please choose two that interest you and review the readings listed for these topics.
Marking criteria:
- Demonstrated ability to clearly articulate the arguments put forth in the readings chosen using academic language
- Demonstrated ability to identify opportunities for innovation and cross-disciplinary work within the media and cultural industries through an engagement with the literature
- Demonstrated ability to lay the foundation for the subsequent project by beginning to think of ways to integrate disciplinary research into MECO848 (Research-enhanced teaching).
- Demonstrated ability to use the literature to build connections between disciplines
- Ability to connect and translate theoretical ideas with a view to understanding these ideas within employment contexts through completion of the subsequent project
- Cited works should be referenced using an established system
- Clarity of expression in line with expected academic standards
On successful completion you will be able to:
- Develop professional, creative, practical and employability skills based on the requirements of the workplace/community/industry.
- Engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in appropriate cutting-edge peer-reviewed research literature
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
- Demonstrate an ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
Final Project
Due: Tuesday 15 November
Weighting: 40%
Groupwork/Individual:
Short extension 3: No
AI Approach:
Word length: 1,200 Words if applicable.
There are 3 options for this task:
Option 1*:
If you choose option 1, you have the option of drawing from your knowledge database (you can include parts of this in your final essay), or from other peer-reviewed research, in order to develop a research question that relates to your placement. You are then required to reflect on your placement experience through the research (using the literature). The method you would use to write this essay is called a 'participant observer methodology' which is outlined below.*
Option 2:
For option 2, you can separate your research essay from your placement experience. If you chose this option, you can write a conventional undergraduate research essay with an introduction, a body and a conclusion, the argument for which is substantiated by secondary data (i.e. the readings you chose/choose to use). If you choose this option, you can select an issue within the creative industries to research.
Option 3:
Option 3 provides you with the option to produce your own project. For example this could be a website, a musical composition, a film, a journalistic contribution, or another type of project that you would like to propose to the unit convenor for this option.
* Option 1: Towards a research question: Students will collaborate with the unit convenor to design their own self-directed research project that utilises theories and methodologies concerning the creative industries. In order to assist in the development of your own self-directed research project, a list featuring research question ideas will be distributed during the second half of the semester. By way of its design, this unit will enable you to generate moments of insight on an on going basis and therefore this list of question ideas will be a record of these moments of insight. You will then be able to play with these ideas by combining these insights and by engaging in conceptual elaboration, metaphorical thinking and conceptual combination when it comes to designing your own research project. By contributing to the development of the essay question options and ideas through group brainstorming sessions that will take place in the seminars in the latter weeks of the semester, you will be able to crowd source ideas from the student body and then collaboratively generate the essay question and topic that you would like to research.
Option 1: Research design and methodology: In terms of methodology, students are encouraged to use a participant observer* method of research to critically analyse how their host organisation goes about their work. This method of research will also allow students to locate themselves within the workplace they are examining. Students are required to engage with theoretical material covered on the unit when writing these individual essays. In terms of grounding your placement experience within the appropriate body of academic literature, the literature review assessment task is designed to lay the foundation for this research essay.
*Some research methods (such as questionnaires) stress the importance of the researcher not becoming "personally involved" with the respondent, in the sense that the researcher maintains both a personal and a social distance between themselves and the people they are researching. Participant observation, however, is a form of subjective sociology, not because the researcher aims to impose their beliefs on the respondent (this would simply produce invalid data), but because the aim is to understand the social world from the subject's point-of-view. Participant-observation is organised so as to produce a type of writing called ‘ethnography’; which is a qualitative research method designed for learning and understanding cultural phenomena which reflect the knowledge and system of meanings guiding the life of a cultural group. Data collection is often done through participant observation, interviews, and questionnaires.
A key principle of the method of participant observation is that one may not merely observe, but must find a role within the group observed, from which they can participate in some manner, even if only as "outside observer." This method involves the researcher "getting to know" the people they're studying by entering their world and participating in that world. This means you put yourself "in the shoes" of the people you're studying in an attempt to experience events in the way they experience them (http://www.sociology.org.uk/ Accessed 14.2.12). Thus with regard to your group seminar presentation, you’re a participant and an observer and you therefore need to employ this methodology to write this essay.
- Questions and further details will be available on iLearn and discussed at the seminars.
- Grading Criteria in the form of a rubric is available on iLearn.
- Assignments must be submitted via the Turnitin dropbox that is available via the unit iLearn site.
Marking criteria:
- Demonstrated ability to assemble a self-directed project
- Demonstrated ability to link the arguments put forth in the readings chosen for the knowledge database (or other peer-reviewed research) to either your placement experiences (option 1), to your chosen research topic (option 2), or to the design of your project (option 3)
- Ability to engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in the appropriate cutting-edge peer-reviewed research literature
- Demonstrated ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments (option 1)
- Demonstrated ability to build connections between disciplines through research
- Ability to connect and translate theoretical ideas and to understand these ideas within employment contexts (option 1)
Essay grades: Obviously at the base level there is referencing. This needs to be in order. There is a referencing guide available on the unit iLearn site. Grades above P as a general rule have to be referenced well.
After this, there is the issue of writing style. Essays above P have to be written clearly and appropriately. You need to employ a formal/academic writing style and you need to substantiate claims you make with evidence. Your topic sentences need to flow together and your paragraphs need to be tight and punchy. For example, a paragraph typically consists of the following sentences:
Topic Sentence
Statement of Position
Evidence/quote
Summary
If your paragraphs are constructed in this way, you will avoid the common pitfalls relating to paragraph length: when paragraphs are too short, this signifies to the marker that you most likely have not substantiated the assertions you have made with evidence; when paragraphs are too long, the marker will often lose the thread of your argument because long paragraphs are fatiguing to read.
Essays using a colloquial/conversational and/or journalistic writing style will be viewed unfavourably. Don't use rhetorical questions and don't write in the first person unless you have justified writing in this way by way of your research methodology (for e.g. if you have stated that you are using a participant observer methodology then obviously at some point you may need to write in the first person). You also need to use numerous references in order to contextualise your essay within the surrounding discourse. Remember, you are making a contribution to knowledge. There is academic freedom, not freedom of expression. These are different. Academics are only free to make points that they can prove. Your opinions cannot be based on thin air.
Essays that will receive grades higher than CR will need to have a certain density to them. Academic writing often involves big words and concepts. In this way, academic writing is a form of short hand (for e.g. relativism and essentialism are words that signify larger paradigms of thought) and therefore good academic writing is able to say more using less words. Authors who demonstrate that they are fluent in this shorthand will be viewed favourably. The amount of extra-curricular research conducted and the originality of each individual research initiative will also be considered.
Furthermore an essay is considered to be excellent or outstanding when the student can fluently relate the readings, lecture videos and seminar content to the arguments and evidence made in the essay. Students will therefore be assessed on how well they evaluate theories and issues, which means that students will be assessed on how they make judgments about the value of ideas they are expected to comment on, or write about. Making judgments or evaluating would usually be demonstrated by a reflection or discussion on what the student considers to be the limitations or intellectual perspectives of the theory, or a discussion of the limitations and perspectives taken by particular texts or readings, or by comparing and discriminating between ideas, issues and theories.
On successful completion you will be able to:
- Engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in appropriate cutting-edge peer-reviewed research literature
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
- Demonstrate an ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
Delivery and Resources
MECO848 Creative Industries Internship - Frequently Asked Questions (FAQ)
1. Do we have to find our own placement? There are 3 options for this unit.
Option 1
Option 1 (the main option) involves students being placed by the university. The university partnership agreements for this option have been organised prior to the start of the session.
Option 2
University partners invited onto campus to work with students; Partners will be invited onto campus and you will be able to work in groups on a project that you will be assigned by the partner organisation(s).
Option 3
Student-initiated placements; you have the option of finding your own activity that you can propose to the university for approval.
The unit convenor collects a list of current opportunities for internships. All enrolled students will be sent this information along with instructions about how to apply for these opportunities. Once you have been allocated, or have found, an organisation that is going to host you for your work placement, you will need to email the unit convenor to request a proposal form to complete.
2. How many hours do we have to work?
50 hours (minimum) during the timeframe of the session.
3. How do we split the 50 hours?
You can negotiate that with your host organisation and their requirements.
4. What is deadline for submitting the proposal form?
The deadline for students to complete and submit this form is week 8 of the session. The one form will be used for all three options outlined above.
5. What if my internship doesn’t work out with my placement?
This could happen due to a restructure of the organisation, or a change in supervisor, if you find that you aren’t learning anything, or if there are human resource issues. Your convenor should be alerted to these issues in advance so that the problems can either be resolved or an alternative sought. But please make sure you discuss any potential issues with your convenor and also suggest that the supervisor makes contact too. We will help you find a second placement where you can do the balance of the hours.
6. How is my internship assessed? Does my supervisor have a role in how I am assessed?
There are three assessment tasks. Look at the unit guide (see above) or iLearn for assessment task details.
7. What happens if I haven’t completed my 50 hours by the end of the semester?
Your final project must be handed in on the due date even if you haven’t completed the hours, and you are still required to complete the hours in order to pass.
If you are finding it difficult to complete the hours, please contact the convenor as early as possible to find a solution.
8. Can my internship be a paid position?
Yes but you need to discuss this with the convenor.
9. Am I covered by insurance for my internship?
Yes. If you are officially enrolled in the unit and you are undertaking the internship in the timeframe in which the unit runs (see forms on iLearn). But remember, the insurance ends when your official internship is over so if you are considering staying on in an unpaid capacity, your employer is responsible for your insurance. Please ensure that you complete your hours during the timeframe of the semester in which you are enrolled. Your host organisation may ask for proof of your insurance coverage, please contact guy.morrow@mq.edu.au and ask to be sent the certificates of currency for your MECO848 internship.
Instructions:
MECO848 requires students to selection an option (see options 1 to 3 outlined above) for their placement and then submit all relevant documentation for approval. Whether planning, creating, or selecting an internship, student interns should be applying certain general principles in order to ensure an optimal experience (see unit learning outcomes). An internship that does not challenge or lead to professional or personal growth will be of little long-term value. If students already have work experience in a particular area but still wish to pursue an internship in a similar area, they should approach the internship from a new perspective, one that will not be a matter of repeating tasks they already have undertaken. Recommendations for internship sites are available from the unit convenor (guy.morrow@mq.edu.au).
All MECO848 students are required to complete the following steps -
- Read the frequently asked question (FAQ) outline above.
- Select the option that suits you best from the 3 that are available.
- If you select option 3 and have found an organisation that is willing to host you as an intern, you will need to complete the proposal and send this to the unit convenor for approval.
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Assignment submission |
Electronic Submissions
Assignments for this unit will be submitted online via the Turn It In/Grademark software that can be accessed through the MECO848 iLearn unit.
To submit an assignment:
1. Go to the MECO848 iLearn site.
2. Click on the relevant Turn It In assignment name.
3. Click on the Submit Paper tab.
4. Select Student Name.
5. Enter a Submission Title.
6. Select Submission Part if there are multiple parts available.
7. Click Browse and select the file you would like to submit.
8. Click Add Submission.
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Examination |
There is no examination for this unit.
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Extensions and Disruptions to Studies |
Please refer to the following webpage for policy information relating to Disruptions to Studies: http://students.mq.edu.au/student_admin/exams/disruption_to_studies/
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Required and recommended texts and/or materials |
READING LIST
The following readings are electronically available via the unit iLearn site.
TOPIC 1: The Creative Industries
Reading 1: De Beukelaer, C (2015) Global creative industries. International Journal of Cultural Policy, Vol. 21, Iss. 3.
Reading 2: Lee, M (2015) Fostering connectivity: a social network analysis of entrepreneurs in creative industries. International Journal of Cultural Policy, Vol. 21, Iss. 2.
Reading 3: Anna Aubry, et al (2015) The promotion of creative industries as a tool for urban planning: the case of the Territoire de la culture et de la création in Paris Region. International Journal of Cultural Policy, Vol 21. Iss. 2.
Additional Readings: Lange, B (2009) Accessing markets in creative industries—professionalization and social-spatial strategies of culturepreneurs in Berlin. Creative Industries Journal, Vol. 1, Iss. 2.
TOPIC 2: Cultural Policy
Reading 1: Meyrick, J (2013) Suiting the Action to the Word: The Changing Rhetoric of Australian Cultural Policy. Asia-Pacific Journal of Arts and Cultural Management, Vol. 10, No. 1.
Reading 2: MacNeill, K and Sarah Reynolds, S (2013) Imagining Transnational Cultural Policy. Asia-Pacific Journal of Arts and Cultural Management, Vol. 10, No. 1.
Reading 3: Emma Blomkamp (2012) Control, Calculation and Collaboration in Cultural Policy Work at an Australian City Council. Asia-Pacific Journal of Arts and Cultural Management, Vol. 9, No. 1.
Additional Reading: Ray, N and Bieter, J (2015) ‘It broadens your view of being Basque’: identity through history, branding, and cultural policy. International Journal of Cultural Policy, Vol. 21, Iss. 3.
Nolin, J (2015) Cultural policy by proxy: Internet-based Cultural Consumption as a copygray zone. International Journal of Cultural Policy, Vol. 21, Iss. 3.
Tipton, C (2014) Supporting Emerging Artists and the Next Generation of Australian Visual Art: A Snapshot of the Victorian Independent Visual Arts Sector 2009-2012. Asia-Pacific Journal of Arts and Cultural Management, Vol. 11, No. 1.
TOPIC 3: ‘Uncreativity’ and Crunching Creativity
Reading 1: Bilton, C (2015) Uncreativity: the shadow side of creativity. International Journal of Cultural Policy, Vol. 21. Iss. 2.
Reading 2: Clark, D (2009) Crunching creativity: an attempt to measure creative employment. International Journal of Cultural Policy, Vol. 2, Iss. 3.
Reading 3: Rodger, J (2015) Jobs for creatives outside the creative industries: a study of creatives working in the Australian manufacturing industry. International Journal of Cultural Policy, Vol. 8, Iss. 1.
Additional Reading: Granger, R and Hamilton, C (2010) Re-spatializing the creative industries: a relational examination of underground scenes, and professional and organizational lock-in. Creative Industries Journal, Vol. 3, Iss. 1.
TOPIC 4: Creative Practice Research: Keeping the Market at Bay?
Reading 1: Baker, D (2011) Queering Practice-Led Research: Subjectivity, performative research and the creative arts. Creative Industries Journal, Vol. 4, Iss. 1.
Reading 2: Brandellero, A and Kloosterman, R (2010) Keeping the market at bay: exploring the loci of innovation in the cultural industries. Creative Industries Journal, Vol, Iss 1.
Reading 3: Gornostaeva, G (2008) The film and television industry in london's suburbs: lifestyle of the rich or losers' retreat? Creative Industries Journal, Vol. 1, Iss. 1.
TOPIC 5: Cultural Work
http://mediaculturalwork.org/ Reading 1:
Taipale, S (2015) Theorizing cultural work: labour, continuity and change in the cultural and creative industries. International Journal of Cultural Policy, Vol. 21, Iss. 3.
Reading 2: Hesmondhalgh, D and Baker, S (2011) ‘Introduction: Can Creative Labour Be Good Work?’ in Creative Labour: Media Work in Three Cultural Industries, Routledge: Milton Park.
Reading 3: McGuigan, J (2010) Creative labour, cultural work and individualisation. International journal of cultural policy, 16:3, 323-335.
Additional Reading: Morrow, G (2013) ‘Regulating Artist Managers: An Insider’s Perspective’ International Journal of Music Business Research, v1 n4.
Bilton, C and Leary, R (2002) ‘What Can Managers do for Creativity? Brokering Creativity in the Creative Industries,’ International Journal of Cultural Policy, 8:1, pp. 49-64.
Coles, A (2015) ‘Creative Class Politics: Unions and the Creative Economy’, International Journal of Cultural Policy, pp.1-17.
McDougall, J (2015) Open to disruption: education ‘either/and’ media practice. Journal of Media Practice, Vol. 16, Iss. 1.
TOPIC 6: Creative Entrepreneurship and Higher Education
Reading 1: Hadley, B (2011) Creating Successful Cultural Brokers: The Pros and Cons of a Community of Practice Approach in Arts Management Education. Asia-Pacific Journal of Arts and Cultural Management, Vol. 8, No. 1.
Reading 2: Beckman, G (2007) ‘Adventuring’ arts entrepreneurship curricula in higher education: An examination of present efforts, obstacles, and best practices. The Journal of Arts Management, Law, and Society, 37 (2), pp.87–112.
Reading 3: Bridgstock, R (2012) ‘Not a dirty word: Arts entrepreneurship and higher education’, Arts & Humanities in Higher Education, 12(2–3) 122–137.
Reading 4: Cope, J (2005) ‘Toward a dynamic learning perspective of entrepreneurship’. Entrepreneurship: Theory and Practice, 29 (4), p.373+.
Additional Reading: Brindle, M (2011) Careers and internships in arts management. In: The Arts Management Handbook: New Directions for Students and Practitioners. New York, M.E. Sharpe, pp.185–216.
Dhliwayo, S (2008) Experiential learning in entrepreneurship education. Education + Training, 50 (4), pp.329–340.
Rasmussen, E and Borch, O (2010) University capabilities in facilitating entrepreneurship: A longitudinal study of spin-off ventures at mid-range universities. Research Policy, 39 (5), pp.602–612.
TOPIC 7: Internships and the Individual
Reading 1: Tony Moore, Mark Gibson (2013) Fringe to Famous: Bohemians, Entrepreneurs, Audiences and the Enabling State. Asia-Pacific Journal of Arts and Cultural Management, Vol. 10, No. 1.
Reading 2: Hanson, J (1984) Internships and the individual: Suggestions for implementing (or improving) an internship program. Communication Education, 33 (1), pp.53–61.
Reading 3: Wong, A (2011) How is the internship going anyways? An action research approach to understanding the triad relationship between interns, mentors, and field advisors. Educational Action Research, 19 (4), pp.517–529.
Additional Reading: Daniel, R (2010) Career development and creative arts students: An investigation into the effectiveness of career theory and WIL experiences on practice. Australian Journal of Career Development, 19 (2), pp.14–22.
TOPIC 8: Team Creativity: Pixar Case Study
Reading 1: Catmull, E (2008), ‘How Pixar Fosters Collective Creativity’, Harvard Business Review, September.
Reading 2: Kurtzberg, T (2005) ‘Feeling Creative, Being Creative: An Empirical Study of Diversity and Creativity in Teams’, Creativity Research Journal, 17:1, 51-65.
Additional reading: Csikszentmihalyi, M (1997) ‘The Flow of Creativity’ in Creativity: Flow and the Psychology of Invention, New York: Harper Collins: 107-126.
Sawyer, K. (2007) Group Genius: The Creative Power of Collaboration, New York: Basic Books: 3-57.
Sawyer, K (1999) ‘The Emergence of Creativity’, Philosophical Psychology, 19(4), 447-469.
TOPIC 9: Distributed Creativity: How Collective Creations Emerge from Collaboration
Reading 1: Sawyer, K and DeZutter, S (2009) ‘Distributed Creativity: How Collective Creations Emerge from Collaboration’, Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81-92.
Reading 2: Amabile, T and Pillemer, J (2012) ‘Perspectives on the Social Psychology of Creativity’, Journal of Creative Behaviour, 46(1), 3-15.
Additional Reading: DeZutter, S (2011) ‘Performing Groups as Distributed Creative Systems: A Case Study’, in Lobman, C and O’Neill, B (Eds.), Play and Performance: Play and Culture Studies, Lanham: University Press of America, 237-259.
TOPIC 10: Creative Conflict
Reading 1: Kurtzberg, T and Teresa Amabile, T (2001), ‘From Guilford to Creative Synergy: Opening the Black Box of Team-Level Creativity’, Creativity Research Journal, 13:3-4: 285-294.
Reading 2: Morrow, G (2013) ‘The Psychology of Musical Creativity: A Case Study of Creative Conflict in a Nashville Studio’, Colombo, B (ed.) The Psychology of Creativity, Nova Science Publishers: Hauppauge, New York.
Reading 3: Badke-Schaub, P, Goldschmidt, G and Meijer, M (2010) ‘How Does Cognitive Conflict in Design Teams Support the Development of Creative Ideas?’, Creativity and Innovation Management, 19(2), 119-133.
Additional Reading: Kurtzberg, T and Mueller, J (2005) ‘The Influence of Daily Conflict on Perceptions of Creativity: A Longitudinal Study’, International Journal of Conflict Management, 16(4), 335-353.
Nemeth, C and Nemeth-Brown, B (2003) ‘Better Than Individuals? The Potential Benefits of Dissent and Diversity for Group Creativity’, in Paulus, P and Nijstad, B (Eds.), Group Creativity: Innovation Through Collaboration, Oxford: Oxford University Press, 63-84.
Nemeth, C, Personnaz, B, Personnaz, M and Goncalo, J (2004) ‘The Liberating Role of Conflict in Group Creativity: A Study in Two Countries’, European Journal of Social Psychology, 34(4), 365-374.
Paletz, S, Schunn, C and Kim, K (2011) ‘Intragroup Conflict Under the Microscope: Micro-Conflicts in Naturalistic Team Discussion’, Negotiation and Conflict Management Research, 4(4), 314-351.
TOPIC 11: How to Kill Creativity
Reading 1: Amabile, T (1998) ‘How to Kill Creativity’, Harvard Business Review, September-October: 77-87.
Reading 2: Kim, K (2011) ‘The Creativity Crisis: The Decrease in Creative Thinking Scores on the Torrance Tests of Creative Thinking’, Creativity Research Journal, 23(4), pp.285-295.
Reading 3: Palmiero, M, Di Giacomo, D and Passafiume, D (2014) ‘Divergent Thinking and Age-Related Changes’, Creativity Research Journal, 26(4), pp.456-460.
Additional Reading: Jaussi, K and Randel, A (2014) ‘Where to Look? Creative Self-Efficacy, Knowledge Retrieval, and Incremental and Radical Creativity’, Creativity Research Journal, 26(4), pp.400-410.
Beghetto, R (2005) ‘Does Assessment Kill Student Creativity?’ The Educational Forum, 69:3: 254-263.
TOPIC 12: Creativity and the Role of the Leader
Reading 1: Scratchley, L and Hakstian, R (2001) ‘The Measurement and Prediction of Managerial Creativity’, Creativity Research Journal, 13:3-4, 367-384.
Reading 2: Amabile, T and Khaire, M (2008), ‘Creativity and the Role of the Leader’, Harvard Business Review, October.
Additional Reading: Runco, M and Acar, S (2012) ‘Divergent Thinking as an Indicator of Creative Potential’, Creativity Research Journal, 24:1, 66-75.
Kilgour, M (2006) ‘Improving the Creative Process: Analysis of the Effects of Divergent Thinking Techniques and Domain Specific Knowledge on Creativity’, International Journal of Business and Society, Vol 7 no 2, 79-107.
Martins, C and Terblanche, F (2003) ‘Building Organisational Culture that Stimulates Creativity and Innovation’, European Journal of Innovation Management, Vol 6, No 1, 64- 74.
Links: Stanford University’s Entrepreneurship Corner
Mark Zuckerberg on Entrepreneurial Thought Leadership http://ecorner.stanford.edu/authorMaterialInfo.html?mid=1506
TOPIC 13: Film Production Case Study: Beasts of the Southern Wild
Reading 1: Sawyer, K (2003) ‘Jamming in Jazz and Improv Theater’ in Group Creativity: Music, Theater, Collaboration, Lawrence Erlbaum Associates: New Jersey.
Reading 2: Auguiste, R (2015) Archives and invention: the archives structuring presence in documentary film practice. Journal of Media Practice, Vol. 16, Iss. 1.
Required Viewing: How Benh Zeitlin Made Beasts of the Southern Wild The Oscar nominee for Best Director transformed film-making as he assembled a new myth out of Hurricane Katrina http://www.smithsonianmag.com/arts-culture/how-benh-zeitlin-made-beasts-of-the-southern-wild-135132724/
http://www.earthisland.org/journal/index.php/elist/eListRead/true_story_behind_beasts_of_the_southern_wild/
Making of Beasts of the Southern Wild - Part I http://www.youtube.com/watch?v=7OUM1Yy6glM
Court 13 http://court13.com/about/
The Creators Project http://thecreatorsproject.vice.com/about
TOPIC 14: Beyond the Devil’s Advocate: Creativity and Positive Arousal in Negotiations
Reading 1: Kelley, T and Littman, J (2005) ‘Introduction: Beyond the Devil’s Advocate’ in The Ten Faces of Innovation: IDEO’s Strategies for Defeating the Devil’s Advocate and Driving Creativity Throughout Your Organization, Double Bay: New York.
Reading 2: Amabile, T, Fisher, C and Pillemer, J (2014) ‘IDEO’s Culture of Helping’, Harvard Business Review 92, nos. 1-2 (January–February 2014): 54–61.
Reading 3: Schei, V (2013) ‘Creative People Create Values: Creativity and Positive Arousal in Negotiations’, Creativity Research Journal, 25:4, 408-417.
Link:
IDEO http://www.ideo.com/
ADDITIONAL LINKS: The Brain that Changes Itself http://www.normandoidge.com/normandoidge.com/MAIN.html
Design Thinking: Thoughts by Tim Brown http://designthinking.ideo.com/
Design Thinking Blog http://www.designthinkingblog.com/http:/www.designthinkingblog.com/tag/david-kelley/
Media and Cultural Work http://mediaculturalwork.org/
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- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
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Learning outcomes
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- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
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Learning outcomes
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- Engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in appropriate cutting-edge peer-reviewed research literature
- Demonstrate an ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
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- Knowledge database
- Final Project
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Our postgraduates will be capable of systematic enquiry; able to use research skills to create new knowledge that can be applied to real world issues, or contribute to a field of study or practice to enhance society. They will be capable of creative questioning, problem finding and problem solving.
This graduate capability is supported by:
Learning outcomes
- Develop professional, creative, practical and employability skills based on the requirements of the workplace/community/industry.
- Engage in the process of acquiring and creating knowledge through the completion of a project that is well grounded in appropriate cutting-edge peer-reviewed research literature
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.
- Demonstrate an ability to conduct research that integrates disciplinary knowledge with collaborative learning activities situated in real environments
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
Assessment tasks
- Knowledge database
- Final Project
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This graduate capability is supported by:
Learning outcomes
- Reflect on your personal development during the internship and your progression to employment.
- Connect and translate theoretical ideas and understand these ideas within employment contexts with a view to achieving on-going employability
Assessment task
- Diary & Logsheets
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This graduate capability is supported by:
Learning outcomes
- Reflect on your personal development during the internship and your progression to employment.
- Examine individual artist-led enterprise models, the individual within collaborative groups, and the management of creative groups within the creative industries in order to understand the options for portfolio careers.