Welcome to our first CCI newsletter for 2012. The Centre has been quick out of the blocks to start the year, with many publications out, a number of events already held, and plenty more to come. It’s shaping up as an even busier year than 2011, itself a truly impressive year of achievement, as showcased in the recently released CCI Annual Report (available at www.cci.edu.au/reports/2011.pdf )
For many years, the National Endowment for Science, Technology and the Arts (NESTA) has led the world in developing rigorous innovation frameworks for policy, programs and evaluation of arts and cultural activity.
Essentially, the story of the CCI has been to give substance to the link between creative industries and innovation, to explore its implications for our core academic discipline fields and several policy domains and, working with industry and community, to assist in its application in practical circumstances. In short, it has sought to mainstream innovation in and through the creative industries for policy consideration, deepen it for academic engagement, and apply it for industry and community benefit.
This report documents the circumstances and experiences of 3 remote Indigenous communities in central Australia and outlines the reasons for the low level of internet take-up, and considers the future prospects for ‘home internet’ in these communities.
The Growing Future Innovators scoping study includes a detailed review of local, national and international policy relating to arts, education and innovation and case studies of innovative and best practice schools education programs delivered by eighteen contemporary arts organisations in Australia and the UK.
PICA has been working with Edith Cowan University's Centre for Research in Entertainment, the Arts, Technology, Education and Communications (CREATEC) with assistance from the Fogarty Foundation, on a research project called Growing Future Innovators.
There are young Australians who are already making a name (and money) for themselves in the latest market for creative content – and it didn’t exist a moment ago. YouTube is a huge repository of amateur content, but it is also rapidly evolving into a site that has legally contracted Hollywood movies and TV shows but is working out ways to share revenues from advertising with gifted and committed amateurs whose creativity attracts a big following.
Can government play a role in assisting Australian creative talent to catch some of dynamism of emerging markets for culture?
Why_do_some_ideas flourish and others fail?
Why is independent thought valued in some societies and discouraged in others?
Ecology is the study of how organisms relate to their environment. Following on from the success of his 2001 book The Creative Economy, leading thinker John Howkins applies ecological principles to the concepts of creativity and innovation, generating Creative Ecologies.
The digital content industries in many countries have seen significant growth over the past decade. This knowledge-intensive sector relies on highly skilled human capital but is often challenged by skills and labour shortages, in turn exacerbated by a lack of high quality industry-ready graduates. This presentation first foregrounds some of the key challenges associated with education-to-work transitions encountered by emerging creative graduates in the digital content industries.
The paper seeks to warrant the authors’ claim that creative capacity building can, at least in substantive part, be made visible through empirical processes of inquiry. To do so, the authors present methodologies and findings from two research projects they have conducted into creative capacity building, the first of which tracks student networking capacity and the second of which identifies cognitive playfulness as a creative learning disposition.