Creative work careers: pathways and portfolios for the creative economy

This article examines the career opportunities, challenges and trajectories of creative work. As part of the Creative Trident approach to creative workforce measurements, the embedded mode draws attention to creative work as it is undertaken outside of the creative industries. This article further considers and conceptualises the complex careers pathways of creative workers. Firstly, creative workers in non-creative occupations in other industries are discussed to highlight the challenges and barriers to securing creative employment and the balance creative workers establish with other forms of employment. Secondly, students from creative courses going into non-creative occupations in other industries is discussed to highlight challenges students face in making the transition from higher education to creative employment in terms of workforce expectations and the competition amongst graduates. This article critically evaluates assumptions about transitions from education into creative work employment and associated career trajectories.     

The careers of fine artists and the embedded creative

While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.     

Embedded creative workers and creative work in education

This article is concerned with the many connections between creative work and workers, and education work and industries. Employment in the education sector has long been recognised as a significant element in creative workers’ portfolio careers. Much has been written, for example, about the positive contribution of ‘artists in schools’ initiatives. Australian census analyses reveal that education is the most common industry sector into which creative workers are ‘embedded’, outside of the core creative industries. However, beyond case studies and some survey research into arts instruction and instructors, we know remarkably little about in which education roles and sectors creative workers are embedded, and the types of value that they add in those roles and sectors. This article reviews the extant literature on creative work and workers in education, and presents the findings of a survey of 916 graduates from creative undergraduate degrees in Australia. The findings suggest that education work is very common among creative graduates indeed, while there are a range of motivating factors for education work among creative graduates, on average they are satisfied with their careers, and that creative graduates add significant creative-cultural and creative-generic value add through their work.     

The rise of the embedded designer in the creative industries

Work practices in the creative industries have changed significantly since the turn of the twenty-first century. The design profession in particular has been influenced by rapidly emerging digital media practices and processes. While the design sector remains a significant source of employment, in recent years, there has been considerable growth in the number of designers working – or ‘embedded’ – in other sectors of the economy. The extent to which tertiary curricula cater for this shift in work practices and employment types is not well known. In this article, we report on original research on the preferred work destinations of a cohort of design students. This research was supplemented by a set of interviews with a small group of embedded designers in order to gain insights into the characteristics of embedded positions. Our research reveals that an embedded design position, while not well understood by undergraduate students, is a significant career path and one that should receive greater attention in undergraduate design curricula. We conclude that greater emphasis should be placed on assisting embedded designers to maintain creative networks that support them in what is a relatively isolated creative role.     

Creative graduate pathways within and beyond the creative industries

This special issue explores the nuances of graduate creative work, the kinds of value that creative graduates add through work of various types, graduate employability issues for creative graduates, emerging and developing creative career identities and the implications for educators who are tasked with developing a capable creative workforce. Extant literature tends to characterise creative careers as either ‘precarious’ and insecure, or as the engine room of the creative economy. However, in actuality, the creative workforce is far more heterogeneous than either of these positions suggest, and creative careers are far more complex and diverse than previously thought. The task of creative educators is also much more challenging than previously supposed. In this introductory article, we commence by providing a brief overview of the creative labour debates, and the evidence for each position. We present the latest literature in this area that starts to speak to how diverse and complex the landscape of creative work actually is. We then introduce each of the articles in this special issue and indicate how they contribute to a more multi-faceted picture of creative activity, and the lives and career trajectories of graduates from creative degrees.     

山东半岛蓝色文化品牌打造的数字化之径

信息化时代的到来深刻影响着人们的日常生活和审美情趣,文化产业的创意化、数字化趋势必将导致文化产业的存在形态和发展走向发生革命性变化,也必然使当代文化品牌建设打上数字文化、文化创意的深刻烙印。齐鲁蓝色海洋文化资源保护和文化品牌打造要积极顺应文化产业数字化的趋势,结合自己的文化优势、产业格局、生活习惯,发挥后发优势,自觉培植文化产业发展的新生长点,努力打造高附加值、高科技含量的数字化文化产业品牌。     

文化创意产业发展与计算机软件专业人才培养模式研究

文化创意产业是一种新兴的产业形态,具有远大的发展前景。计算机软件技术是推动文化创意产业快速发展不可或缺的力量,所以,实现对计算机软件专业人才的科学培养,构建合理的人才培养模式就显得至关重要。深入分析了文化创意产业现状和人才匮乏的问题,对计算机软件专业人才的培养模式提出了自己的建议。     

河南省创意旅游发展研究

创意旅游是河南省旅游业深层次、可持续发展的必然选择,对旅游产业转型升级等具有重大意义.在分析河南省发展创意旅游有利条件的基础上,提出了河南省发展创意旅游的策略,一是发挥政府主导作用,二是大力吸引创意人才,三是延伸和拓展旅游产业链.     

试论创新型教师的创新特质

创新型教师的创新特质包括科学的世界观,正确的人生观、价值观;丰富的科学知识和强烈的社会责任感;强烈的创新欲望和创新精神;先进的教育观念和教育技术;良好的心理品质和个性修养。     

谈谈政治课教学中的创新教育

政治课要在传授知识，陶冶情操的同时，强调创新教育，培养学生的创新精神和创新能力，它首先要求教师教学要有独创性，要坚持民主教学，充发发挥学生的主体作用，本文从三个角度就如何发挥学生的主体作用进行了阐述。     

创意产业的国内外研究综述

作为21世纪的新兴产业,创意产业已显示出强大的生命力和发展潜力,在很多发达国家和地区,创意产业被作为战略产业和支柱产业加以扶持,它所带来的巨大经济效益也已引起全世界的关注。通过对创意产业的内涵、创意产业集群的形成以及创意阶层等几个方面进行梳理,期望为创意产业的理论体系研究添砖加瓦,为政府制定产业政策提供理论基础,为我国创意产业的发展提供经验和借鉴。     

日本高专院校的职业素质教育

日本高专院校以＂培养具有创造性的实践型技术人才＂为教育目标,为日本社会培养了大批具有较强实践技能的毕业生,多年来就业率一直高达百分之百,各高专院校的求人倍率均高于大学与短期大学。实践教育为主的专业素质教育、基于课外活动的身体心理素质教育、基于问题发现解决型训练（Project/Problem Based Learning,简称PBL）和科技竞赛的创新素质教育、基于职业生涯教育和就业体验的就业能力素质教育等素质教育的措施是日本高专教育能够取得成功的关键保障。     

建设开放型创新实验室 培养创新人才

21世纪,高等院校在本科教育中更注重对学生综合素质与创新实践能力的培养,实验室开放式教学起着不可忽视的重要作用,围绕实践能力和创新人才培养,以建设开放型创新实验室为基础,介绍我校在开放型创新实验室建设、校企合作平台建设、学生创新能力培养和大学生创新基金项目建设等方面的一些具体措施。     

创新过程的系统模型与创新机制的创新

本在全面评述美国名心理学家Csikszentmihalyi最近提出的创新过程系统模型的基础上，论述了中国创新工作的实施必须以创新机制本身的创新为前提的观点，并就创新研究与实践问题提出若干思考和建议。     

How children's creative visual imagination and creative thinking relate to their representation of space

This article explores how creative visual imagination and creative thinking can help children to construct mental models of space. A mixed-method study, integrating quantitative and qualitative approaches and involving 98 five-year-old children (54 girls and 44 boys) demonstrated that creative visual imagination, rather than creative thinking, is linked with the knowledge and understanding of space. These results support the notion that creative visual imagination contributes to improvements in children's understanding of basic astronomical concepts. Interestingly, creative thinking was not associated with understanding and knowledge of cosmic phenomena in models taking into account creative imagination. The qualitative analysis showed differences in children's representations of space. We discuss the consequences of these findings for science education, particularly the teaching of elementary astronomy.     

大学生创造力特征的调查与分析

对武汉地区4所重点高校453名大学生的问卷调查结果表明:大学生创造力特征主要包括寻根究底、独具匠心、笃学不倦、特立独行、安于现状、孜孜以求,以及思维的敏锐性、思维的灵活性和直觉思维等9个因素。不同学科的大学生在一些创造力特征因素上存在显著差异,文科和工科大学生的创造力特征得分较高,医科和理科大学生的创造力特征得分较低。不同性别的大学生在特立独行和安于现状因素上存在显著差异。     

浅议创新型教师的素质

实施创新教育是时代的要求,创新型教师的培养是新世纪高等师范院校急需研究和解决的一个重要课题,创新型教师的素质主要分为创新教育基础、创新教育能力、创新教育精神.     

Case study of employment trends across 25 years of graduates of a Japanese Science and Technology University

Graduates in the areas of Science and Technology are believed to have traditionally been employed in a number of specific industries, but the recent restructuring of some industries may have affected this phenomenon. In order to examine the trends concerning employment issues in more detail, a case study was conducted by surveying employment statistics for every five years between 1985 and 2010, of graduates from various departments of Science and Technology at a Japanese National University. In this period, the Japanese economy experienced a variety of changes which resulted in some leading Japanese universities with engineering programmes changing their emphasis from undergraduate studies to postgraduate studies. These influences were observed using employment statistics. According to the statistics representing degree levels and the ratios of job openings to applicants, the percentages of graduates employed by industry were compared using data measured at five year intervals. A shift in the employment of graduates can be observed. Employment of graduates of Master's degree courses increased twofold during the 1990s, and employment of Ph.D. course graduates increased significantly in the near term, while employment of Bachelor's degree holders decreased. The relationship between graduates of 13 departments and 21 types of industry was analysed using multiple correspondence analysis. Common two-dimensional scales such as basic-advanced science and technology, and broad-specific demand science and technology were extracted. Both factors of year and degree levels were also configured using the same figures. These configurations were compared between the years examined, and the changes in the structural relationships between degree levels, departments and industries were analysed. These results suggest that some industrial sectors have recently begun to require Master's or Doctoral level graduates from specific departments, though they had not strongly done so before. This also illustrates the relationship between university departments and industry with regard to human resource supply and demand.     

福建省文化创意产业对就业增长贡献实证分析

文章在对福建省文化创意产业行业范畴界定基础上,采用回归模型分析对福建省文化创意产业与第三产业中主要行业的就业弹性进行比较,分析结果证明:福建省文化创意产业的就业弹性系数比较高,拥有较强的劳动力吸纳能力,但也发现,其就业效应变动幅度较大,就业容量效应在目前并没能得到充分发挥。     

论创新人格及其培养

提出了创新人格是创造活动核心和动力的观点,探讨了影响创造力的六种人格特征坚毅的精神、富有幽默感、高敢为性、高成就动机、独立性强、低焦虑等,针对性地提出了创新人格培养的方法和策略,即培养意志品质、提高对挫折的耐受力、营造民主气氛,实现个体"心理安全"和"心理自由"、尊重孩子的个性、避免不良人格的形成等.