Published Research

This page displays all published research by Creativeworks London. Please keep visiting this page as more work will be published in the coming months.

Published Research

Intermediaries and the knowledge exchange process: the case of the creative industries and higher education. (2016). In “Beyond the Campus: Higher Education & the Creative Economy” (eds.) Comunian, Roberta and Gilmore, Abigail. Routledge, London.

Authors: Tarek E. Virani (Creativeworks London, Queen Mary University of London) and Andy C. Pratt (City University London)

Research Strand: Place Work Knowledge

Date: August 2016

Abstract: Research that has been conducted on university-industry collaborations predominantly examines knowledge exchange (KE) in the field of high technology where the output is a material product, or income stream. The material product is assumed to act as a proxy for knowledge exchange and/or knowledge transfer (KE/KT); the exchange is propagated by diffusion and achieved by fiat. This chapter indicates how, at least in the case of the creative and cultural industries (CCI), the normative model is stymied by organisational asymmetries and differing scales.

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Opera and emotion: the cultural value of attendance for the highly engaged – Journal Article

Publication: Participations: Journal of Audience and Reception Studies, Volume 13, Issue 1

Authors: Sinéad O’Neill, with Joshua Edelman and John Sloboda

Date: May 2016

Abstract: This paper examines the cultural value of opera through a study of its most devoted and long-standing audience members. Its key research objective is to develop our understanding of what opera-lovers love about opera. In doing so, we provide a case study of one way to research audience experience of the arts. We use a theoretically-grounded, interview-based method. Our analysis starts with a quantitative account of what people said, and moves to an in-depth, qualitative analysis of respondents’ emotional engagement with opera. We suggest that this paper will be of interest to performing arts organisations, to academic researchers of audience experience, and to those with responsibility for arts funding and cultural policy.

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Value and Audience Relationships: Tate’s Ticketed Exhibitions 2014–15 – REPORT, Tate Papers no.25

Author: Mariza Dima

Date: Spring 2016

Abstract: In this report Mariza Dima sets out the findings of a research project examining the experiential and educational value of Tate’s ticketed exhibitions to its audiences. Exhibition planning, the contributions of small and medium-sized enterprises and the museum’s data-gathering practices are explored, taking the 2014 exhibitions Late Turner and Malevich as case studies.

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Digital Innovation: The Hackathon Phenomenon

Author: Gerard Briscoe, Queen Mary University London

Research Strand: London’s Digital Economy

Abstract: Innovation with digital technologies continues to emerge, but increasingly there are efforts to help ‘nurture’ such innovation. Large structured project approaches are increasingly giving way to short prototyping activities called hackathons. These hackathons are more encouraging of creativity and are often challenge orientated. From holding large numbers of these events, the ‘hackathon phenomenon’ has emerged as an effective approach to innovation with digital technologies in a large range of different spaces (music, open data, fashion, academia, and more).

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Creative Gardens, The Knowledge Exchange Conference 2013

Authors: Gerard Briscoe, Queen Mary University London Joseph Lockwood, Glasgow School of Art

Research Strand: London’s Digital Economy

Abstract: Can we move beyond simply networking creative individuals to establishing diverse communities of practice for innovation through discursive methods. Furthermore, can we digitise their creativity activities within an integrative socio-cultural collaborative technology platform that could then support distributed innovation. First, we consider the complexity of creative cultures from the perspective of design innovation, including how to nurture creativity activities in what we call Creative Gardens. Specifically, how they could grow, diverge, and combine,being cultivated to nurture emergent, disruptive, collaborative innovation. Then, we consider the digitisation of Creative Gardens from the perspective of digital culture. Specifically, the tenets of Creative Gardens as dynamic and innovative communities. This includes considering the challenges and opportunities around digitisation, the influences around the connectivity with knowledge cultivation, and the potential for distributed innovation as collective intelligence to utilise diverse expertise.

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Queen Mary - University of London
Arts & Humanities Research Council
European Union
London Fusion

Creativeworks London is one of four Knowledge Exchange Hubs for the Creative Economy funded by the Arts and Humanities Research Council (AHRC) to develop strategic partnerships with creative businesses and cultural organisations, to strengthen and diversify their collaborative research activities and increase the number of arts and humanities researchers actively engaged in research-based knowledge exchange.