Academic literature on the topic 'Co-creativity sessions'

Purpose This paper aims to investigate in a transformative service research (TSR) context how users can be involved through co-design and what contributions they can make during this process. Design/methodology/approach A six-step co-design process was used to plan and facilitate two co-design sessions that involved a total of 24 participants. The collected data include field notes, transcripts from group discussions, recordings of idea presentations and the evaluation of ideas. Findings A recruitment strategy that uses strong networks and sensitizes users through generating awareness of the underlying issue can prevent the waste of valuable resources. During the facilitation stage, experts need to find the fine line between close guidance and giving voice to the users. User-generated ideas set the starting point for new value propositions that more effectively support users in their value creation processes. Research limitations/implications The findings are limited to one specific sample and design task. Future research is required that investigates the application of co-design to other TSR contexts. Practical implications In TSR, organizations will need to follow a different co-design approach owing to the sensitive nature of the design task and/or users that are not driven by innovation-related motivations. Organizations should tap into their networks to raise awareness and recruit suitable participants. To capture users’ unique insights and foster the collective creativity, facilitation should focus on enabling participants through the use of design tools and team management. Originality/value The study contributes new insights into requirements, challenges and benefits of applying co-design to TSR contexts. The study shows that ordinary users, if empowered, can give important insights into the design of new value propositions.

The need for effective and attractive learning environments (LEs) for science, technology, engineering, and mathematics (STEM) has been internationally recognized. Additionally, the connection between STEM learning and cross-curricular skills such as creativity, innovation, and entrepreneurship has garnered attention. A deep theoretical and empirical understanding is required when designing STEM LEs. In this study, a pedagogical framework for STEM LEs has been developed based on feedback from students, aged 10–18 years old, teachers, school directors, parents, and STEM professionals, and supported by the literature. First, representatives of key stakeholder groups in Belarus, Finland, Germany, Greece, and Spain (total n = 132) were invited to co-design focus group (FG) 1 sessions to collect their wishes related to STEM LEs. The data was collected through an online survey with open-ended questions. The analysis of the data led to the design of the pedagogical framework, which was validated by the same stakeholder groups (total n = 137) in FG2 discussions. The empirically and theoretically grounded framework entails general design principles as well as principles related to ways of teaching and learning, socio-emotional aspects, and cross-curricular skills. Both the results of this study and the previous literature suggest that different pedagogical design principles are highly interrelated. For instance, novel tools and methods, collaborative methods, reflective learning, and entrepreneurial skills may support creativity and innovation, and vice versa. Therefore, instead of focusing on singular design principles, we recommend considering a wide range of different LE design principles to support multiple ways of teaching and learning, and to develop both subject-related and cross-curricular knowledge, skills, attitudes, values, and ethics.

Abstract.FROM COMPETITION TO COOPERATION: A PRIMARY OBJECTIVE OF ENRICHMENT PROGRAMS FOR THE GIFTEDIn an era when educational policies continue to foster competition in education, research shows that cooperation is a future educational aim. On the basis of this paradox, it is argued that the enrichment programs for gifted children and adolescents should constitute an opportunity for the development of cooperation. The Enrichment Programs of ANEIS Lisboa and ANEIS Torres Vedras (two delegations of the National Association for the Study and Intervention on Giftedness) are based on principles of cooperative learning: the heterogeneity of participants, the achievement of a common goal through interdependence, the promotion of interaction, individual accountability, equal opportunities and the development of personal and interpersonal skills. This approach aims at the integration of participants in different contexts as well as the development of critical thinking and creative skills through the co-construction, reflection and debate on issues and products carried out throughout the sessions. The results from various sources, questionnaires, scales, interviews and observation, show participation in the proposed activities facilitates communication and negotiation skills, emotional stability as well as the practical application of knowledge.Keywords: Giftedness-Cooperative Learning-Critical Thinking-Creativity-21st Century SkillsResumo.Numa era em que as políticas educativas continuam a fomentar a competição na educação, a investigação mostra que a cooperação é uma competência do futuro próximo. Com base neste paradoxo, os programas de enriquecimento na sobredotação devem constituir uma oportunidade de desenvolvimento da cooperação. A presente comunicação procura mostrar como dois Programas de Enriquecimento de Lisboa e de Torres Vedras que assentam nos grandes princípios da aprendizagem cooperativa: heterogeneidade dos participantes, existência de um objetivo comum alcançado através da interdependência, promoção da interação, responsabilização individual, igualdade oportunidades e desenvolvimento de competência pessoais e interpessoais. promovem a integração dos participantes em diferentes contextos bem como o desenvolvimento de competências de pensamento crítico e criativo através da co-construção, reflexão e discussão conjunta de problemas e produtos realizados ao longo das sessões. A partir de um conjunto de instrumentos de observação e análise das sessões foi possível verificar ganhos em termos cognitivos e sócio-emocionais. A participação colaborativa nas atividades propostas parece ter facilitado o agenciamento e a aplicação prática do conhecimento e conduz à verdadeira cooperação.Palavras-chave: Sobredotação - Aprendizagem Cooperativa – Pensamento Crítico – Criatividade - Competências Do Século XXI

Introduction Over the last fifteen years, Living Labs have been on the rise in Europe to bridge the gap between service providers, and the needs of end-users, and to speed up innovation, particularly in the field of healthcare and ageing. Ageing tends to be considered by institutions as a set of risks to be managed for older persons, illustrated in particular via the concepts of “ageing well” or “successful ageing”. In this context, this project aims to define the meaning and the conditions for a good life from the point of view of older persons themselves, thereby improving institutions’ recognition and support of older persons’ ways of living well, rather than imposing a general definition of “successful ageing” based on functional capacity. Methods and analysis This qualitative study is designed as an action research underpinned by a Living-Lab approach to co-creation. The aims are to: define the conditions for a good life as accurately as possible with older persons (Step 1); share these findings with different healthcare and service providers to adjust existing services or create new ones (Step 2); and disseminate them more broadly within the regions under study and across the scientific community (Step 3). During Step 1, the features of a “good life” will be analysed in a socio-anthropological study based on semi-directed interviews and observations made in the homes of 70 elderly people living in a wide range of accommodation types and regions. In accordance with French legislation, and as confirmed by our formal Ethics Committee, this study does not require approval. The dissemination stage is integrated into the design of this action research, and notably will provide for the appropriation of research findings by the partners of this study, by setting up creativity sessions (Step 2) and by sharing the general findings through panel discussions bringing together regional and national stakeholders (Step 3).

23 co-ed students ran for 20 min. for 16 sessions. During the first and last class sessions, before running, they and a control group, were tested on 3 measures of creative thinking (verbal adaptability, diversity and originality). After the exercise sessions there were small but significant gains in measures of Remote Consequences and Alternate Uses.

What would it look like to honour differences in eating disorder recovery? Recoveries from eating disorders and eating distress are enacted in relation to discursive, material, and affective flows that open and constrain different possibilities for differently embodied people. Yet, the pull toward establishing consensus on “what recovery is” continues to dominate the landscape of both qualitative and quantitative eating disorder recovery work. While researchers from a variety of perspectives, disciplines, and methodological traditions have sought to establish consensus on what recovery “is”, a singular definition remains elusive. Indeed, when researchers continue to adopt the same methodologies—which largely emphasize establishing patterns of sameness—the opportunity to dig into contradictions and tensions that enliven recoveries is missed. In this paper, we reflect on our experiences conducting creative, collaborative, generative research to re-write, re-design, re-draw, and otherwise re-imagine recoveries. The knowledge generated in our research is co-constructed with people with living experience of disordered/distressed eating/eating disorders who spoke back to mainstream recovery discourses (e.g., the idea that recovery is about perfection, that recovery is linear, that one is either recovered or not, that the word “recovered” encapsulates the experience, etc.). We engaged with 12 participants: four in an online group workshop and eight in individual online sessions. Participants held a variety of experiences and backgrounds from Canada, the United States, and Aotearoa New Zealand. We explored their journeys into this conversation with us, the meaning of recovery, and their thoughts on what makes recovery im/possible. Participants were offered several options for creative engagement and took up the idea of “creativity” in ways as different as the stories they shared. Participants created collages, short stories, poems, drawings, and told stories about their experiences. Here, we discuss methodological insights gained from asking participants to lead the creative process. We also explore how this project potentially enables different ways of thinking about and doing eating disorder recovery. Delving into the differences in both method and content opens up opportunities to take seriously the different relational, material, and affective constellations of participants’ living experiences of eating distress/disorder “recovery”.

Prewriting is the process of discovering and developing ideas before writing a first draft, which requires divergent thinking and often implies unstructured strategies such as diagramming, outlining, free-writing, etc. Although large language models (LLMs) have been demonstrated to be useful for a variety of tasks including creative writing, little is known about how users would collaborate with LLMs to support prewriting. The preferred collaborative role and initiative of LLMs during such a creative process is also unclear. To investigate human-LLM collaboration patterns and dynamics during prewriting, we conducted a three-session qualitative study with 15 participants in two creative tasks: story writing and slogan writing. The findings indicated that during collaborative prewriting, there appears to be a three-stage iterative Human-AI Co-creativity process that includes Ideation, Illumination, and Implementation stages. This collaborative process champions the human in a dominant role, in addition to mixed and shifting levels of initiative that exist between humans and LLMs. This research also reports on collaboration breakdowns that occur during this process, user perceptions of using existing LLMs during Human-AI Co-creativity, and discusses design implications to support this co-creativity process.

This article collates and synthesizes the discussion results of a collaborative research exercise, known as a ‘co-creation session’, formed of a multi-disciplinary group of extended reality (XR) researchers and practitioners. The session sought to develop and theorize the concept of ‘transformative technologies for good’ in creative, applied and clinical contexts. Notions of ‘cutting-edge’ practice were visited from a critical standpoint; participants established that innovation, when measured in terms of social good, challenges technological and economic paradigms of progress. Conversation between participants centred on four key areas: skills and knowledge for effective XR research, appropriate methods and sites for diffusion of XR research, the future of the field, and the possible contributions of XR and associated research to problems arising from COVID-19. The session offered further insights into research design related to composition of participant groups in terms of disciplinary knowledge, activity design, and remote digital interfaces.

In the writing classroom, collaborative learning often takes the form of co-authoring, peer workshops or critique sessions. While useful, what other active learning approaches might be effective, particularly in light of the range of media with which students are increasingly familiar? World-building—creation of an alternative/speculative or futuristic land, world or universe—offers an approach to fiction writing amenable to both creative collaboration and digital modalities. This article examines how a team-based world-building project in an advanced writing course engenders creative-making through active learning and collaboration; builds upon the multi-modalities and genres through which many students already engage with fiction (video, online and/or fantasy role-playing games, horror, speculative and science fiction); and leverages both physical and virtual space as creative collaborative environments. With this approach, students in a seated class team up to create original alternative worlds in an online environment--including production of both digital and physical artifacts--within which their own (individual) stories are set. The result is movement between real and virtual space, as well as between shared creative acts and personal imaginative writing.

Abstract Background Dance/Movement Therapy (DMT) is a language that transcends the verbal realm. This facet of communicating through dance and movement is significant particularly when the population you are working with often communicates in ways that are creative, unique, and not necessarily conventional. This is often the case when working with people who have been diagnosed on the schizophrenia spectrum. Although they fall under the same diagnosis, positive and negative symptoms of schizophrenia are embodied in quite different ways; as their names indicate, positive and negative symptoms are dichotomous and fall on opposite ends of a movement spectrum. Methods We will explore the many bodily manifestations of schizophrenia and DMT approaches to best support the specific needs associated with this complex diagnosis. The co-facilitators have each engaged in their own clinical practice and research exploring how DMT interventions can best serve the population in grounding, thought and behavioral organization, ego strengthening, and development of interpersonal relationships. As one can imagine, having a diagnosis of schizophrenia can be isolating and interrupt healthy relationship development due to stigmatization. The co-facilitators have found DMT to be a humanizing factor in this often dehumanized population. The use of creativity with people with schizophrenia allows the psychotherapeutic relationship to focus on personal strengths, individuality, and unconditional acceptance. Results Dance/movement therapists assess patient functioning through non-verbal indicators in everyday behavior, postural and gestural patterns, and qualitative elements that emerge during therapeutic interactions. Oftentimes, their experiences with positive symptomatology affect their ability to relate in a shared reality base with others not experiencing these positive symptoms. Single-session DMT interventions have supported a decrease in psychological distress, and positive and negative symptomatology for people with schizophrenia in an inpatient psychiatric facility (Biondo, 2019). Within a group DMT approach to treatment, dance/movement therapist considers movement and body-based experiences, as natural and effective sources of self-awareness and expression, which can illuminate the interrelationships between the many dimensions of human behavior (Bryl, 2018). This approach integrates movement techniques, creative embodiment, the non-verbal aspects of self-awareness and interpersonal communication and targets core specific features of chronic schizophrenia and negative symptomatology. As such it provides links to outcomes directly related to affective, cognitive, behavioral, and functional processes in the treatment for schizophrenia in residual stages (Bryl, 2018). Discussion Schizophrenia can manifest through many different representations: with positive and/or negative symptoms, and with acute episodes or chronicity. The diagnosis will interrupt healthy ego strength, the ability to relate with others, and the ability to function without supports. Dance/movement therapy is a wonderful approach to working with this population in its many forms, as it addresses the psychological, cognitive, social, and functional levels of participants. Although positive and negative symptoms often manifest quite differently on a movement level, DMT has the ability to support the many needs of those diagnosed with schizophrenia. The many limitations of psychopharmacological interventions for people with schizophrenia are evidence that inclusive, strengths-based, and body-informed therapy options would greatly benefit this population.

Afin de rester compétitives, les entreprises se doivent d’être innovantes et de proposer régulièrement de nouveaux produits, services, process, … Si, pendant longtemps, les innovations se sont concentrées sur la dimension technique, aujourd’hui, elles s’appuient sur trois leviers principaux : les prix, la technologie et les usages. Depuis peu, l’innovation durable, qui consiste à innover en prenant en compte les impacts environnementaux, est également considérée comme un levier d’innovation supplémentaire. Pour répondre à ces nouvelles demandes, notamment autour de l’innovation par l’usage et l’innovation durable, les entreprises ne se demandent plus si elles doivent innover mais plutôt comment le faire. Elles « cherchent à renouveler leurs modalités d’innovation et de création ». De nouvelles méthodes et de nouveaux outils sont déployés en contexte industriel. Une des pratiques proposées est la mise en place de nouveaux lieux, dédiés à l’innovation, inspirés du mouvement maker tels que les FabLabs, les Living labs, les Hackerspaces, les Makerspaces, ... Ces nouveaux espaces, portés par des acteurs divers, renouvellent les modalités d’innovation et de création par la mise en oeuvre de processus collaboratifs et itératifs. Ils ont pour objectifs de remettre les usages au coeur des processus d’innovation, de centrer le processus sur l’utilisateur et ses besoins, de donner un nouveau souffle aux processus d’exploration et d’innovation des entreprises, de revaloriser les compétences pratiques et de s’adapter à un contexte de désindustrialisation. Pour réaliser ces objectifs, ces laboratoires d’innovation s’appuient sur trois grands piliers : un lieu caractérisé par une architecture, une disposition et un décor particuliers qui influencent le comportement des occupants ; une équipe composée d’acteurs variés et hétérogènes comme des chercheurs, des ingénieurs ainsi que des experts en méthodes et outils de créativité et de prototypage et enfin des méthodes visant à faciliter et accompagner la génération d’idées et le travail de groupe, notamment à travers des sessions de co-créativité. Dans le cadre de l’innovation durable, très peu d’outils sont adaptés aux pratiques de ces nouveaux lieux d’innovation. En effet, les laboratoires d’innovation soutiennent la génération d’idées et de premiers concepts alors que les outils d’éco-innovation ou d’éco-conception tel que l’Analyse de Cycle de Vie, reposent sur l’évaluation des impacts environnementaux de produits finalisés. Nous proposons de développer un outil d’éco-créativité qui a pour objectif d’accompagner les participants d’une session de co-créativité pour générer des idées nouvelles, originales, respectueuses de l’environnement et adaptées au contexte dans lequel elles se manifestent. Pour évaluer les effets de l’introduction d’un tel outil pendant des séances de co-créativité, une méthodologie d’analyse exhaustive de ces séances a été développée. Pour réaliser ces travaux, nous avons intégré le Clean Mobility LAB, laboratoire d’innovation d’un grand groupe d’ingénierie et de production d’équipements automobiles international, FORVIA FAURECIA
To remain competitive, companies must be innovative and regularly offer new products, services, processes, etc. If, for a long-time, innovation has focused on the technical dimension, today it relies on three main levers: prices, technology and uses. Recently, sustainable innovation, which consists in innovating while considering the environmental impacts, is also considered as an additional innovation lever. To meet these new demands, particularly around innovation through use and sustainable innovation, companies are no longer wondering if they should innovate but rather how to do so. They “seek to renew their methods of innovation and creation”. New methods and tools are deployed in an industrial context. One of the practices proposed is the establishment of new places, dedicated to innovation, inspired by the maker movement such as FabLabs, Living labs, Hackerspaces, Makerspaces, ... These new spaces, supported by various actors, renew the modalities of innovation and creation through the implementation of collaborative and iterative processes. Their objectives are to put uses back at the heart of innovation processes, to focus the process on the user and his needs, to give a new impetus to the exploration and innovation processes of companies, to upgrade practical skills and adapt to a context of deindustrialization. To achieve these objectives, these innovation laboratories are based on three main pillars: a place characterized by a particular architecture, layout and decor that influence the behavior of participants; a team composed of diverse and heterogeneous actors such as researchers, engineers as well as experts in methods and tools of creativity and prototyping and finally methods to facilitate and support the generation of ideas and group work, notably through co-creativity sessions. In the context of sustainable innovation, very few tools are adapted to the practices of these new places of innovation. Indeed, innovation laboratories support the generation of ideas and first concepts while eco-innovation or eco-design tools such as Life Cycle Assessment, are based on the assessment of the environmental impacts of products. We propose to develop an eco-creativity tool that aims to accompany the participants of a co-creativity session to generate new ideas, original, respectful of environment and adapted to the context in which they manifest. To evaluate the effects of the introduction of such a tool during co-creativity sessions, a comprehensive analysis methodology of these sessions was developed. To carry out this work, we have integrated the Clean Mobility LAB, innovation laboratory of a large international automotive equipment engineering and production group, FORVIA FAURECIA

The aim of this paper is to present the results obtained during ProActive project, a European project having as main objective the creation of learning contexts in which educators (teachers, professors, trainers) of different LLP sub-programmes (Comenius, Leonardo da Vinci and Erasmus) can an apply their creativity in designing their own GBL scenarios using digital tools (two games editors: Eutopia and <e-Adventure>). In order to identify project’s potential in developing educational games, in the first phase of the project were organized several focus groups with teachers, trainers and professors according to an initial project plan. The results obtained helped the team to adapt the two game editors according to the users’ needs. In a second phase, University of Bucharest has selected three pilot sites representing centers, associations, institutions that offer courses in different fields: from computer skills and advanced computer networks to personal development and outdoor education were selected to be part of implementation phase. The selection process was made according with specific criteria related to their experience in the field and institutions’ interests to use Game Based Learning in their current practice. Through co-design sessions and workshops participants learned how to use the tools for creating games, and how to integrate these computer aided instruction sequences in a regular classroom. Through Game Based Learning, trainers will improve their teaching methods, transforming classes in spaces for collaborative work, participation, problem solving. Game Based Learning will encourage students to continue their work at home and to communicate with other colleagues and trainer even if the learning scenarios are applied in traditional learning, in blended learning, or in distance learning.