social innovation &
the creative economy:
current knowledge and shared research
DATE: Wednesday, 21 November 2018
LOCATION: ADM Campus, 81 Nanyang Dr, Singapore 637458
FEES: The workshop is FREE to attend, but places will be limited.
THE EVENT ORGANIZERS
KEEN ON MORE?
"In a university context, ‘research methodologies’ and ‘research methods’ have different meanings and purposes. At the School of Art, Design and Media (ADM) of Nanyang Technological University Singapore (NTU), academic research, artistic research, and design research constitute both the educational backgrounds of faculty (as supervisors and instructors) and the epistemological foundations for the graduate studies. A new graduate course was recently created to introduce a method to do research. D.A.N.C.I.N.G. stands for “Definition, Assumption, Notion, Concept, Interpretation, Narrative, Gamut”, as a path to identify, retrieve, aggregate and organize relevant materials to start an academic discourse. The DANCING method experiments cutting-edge technologies and media to facilitate the transcultural teaching of complex ideas. This event extends the exploration of the DANCING method and what NTU construed in academic, design, and artistic research."
09:00 – 09:30am
Registration and get-together
09:30 – 09:40am
Welcome & Introduction to Research Area Denderah Rickmers, PhD Candidate // King's College London, UK
09:40 - 10:10am
Vocabularies of Social Innovation Dr Joe Painter // Durham University, UK
10:10 – 11:00am
Panel Discussion: Perspectives on the Social-Creative Sphere in Singapore / ASEAN, including:
Katelijn Verstraete, Director Arts and Creative Industries @ British Council East Asia
Alfie Othman, CEO @ raiSE (Singapore)
Evelyn Lee, Founder @ Prospect Music Therapy
Moderator: Dr Roberta Comunian
11:00 – 11:10am
Coffee & Tea Break
11:10 – 11:40am
The Five Pillar Model: A Case Study on Assets-Based Community Development in Bali Alan Yu // Lien Centre for Social Innovation, Singapore
11:40 – 12:10pm
Thinking the Unthinkable: Innovation and new Leadership - A Case Study of DBS Bank Nik Gowing // UK and Singapore
12:10 - 12:40pm
Creatives and sustainable careers Michelle Carter // Queensland University of Technology (QUT), Australia
12:40 – 13:30pm
13:30 – 14:15pm
Keynote: The Creative Economy Dr Jason Potts // RMIT University, Melbourne, Australia
14:15 – 14:45pm
Case Study: E-participation app for waste disposal in Wiesbaden, Germany Dr Stephan Böhm // Hochschule RheinMain, Germany
14:45 – 15:15pm
Changing models: from creative quarters to social innovation processes in a post-crisis Barcelona Joan Ganau // University of Lleida, Catalonia, Spain
15:15 – 15:30am
Coffee & Tea Break
15:30 – 16:00pm
Action research driving regional creative sector interventions in the UK’s North East: An exploration of the role of higher education on social innovation in the creative economy Dr Ladan Cockshut, Dr Alistair Brown, Dr Mariann Hardey // Durham University, UK
16:00 – 16:30pm
16:30 – 16:45pm
Workshop Summary & Next Steps
End of workshop
17:45 – 19:00
19:00 – 20:00
TRANSIENT: Wearable Technology, Fashion and Design Showcase
By Galina Mihaleva and her students
call for papers
Even though social innovation in its essence is as old as mankind (Cajaiba-Santana, 2014), its academic relevance as a field of study in the social sciences has gained momentum only over the last decade in particular (Edwards-Schachter & Wallace, 2017). The shortcomings of techno-capitalism as a driver of social change (Mulgan et al., 2008; Perez, 2009), led to the rising prominence of the concept of social innovation rooted in various fields, spanning from business and management studies to community development (van der Have and Rubalcaba, 2016) and recently to the arts and the wider creative economy (Upstart Co-lab, 2017). The creative industries are per their definition linked to a constant strive for innovation and with that hold a role as a source for wider economic paradigm shifts (Potts, 2011). And with their affinity to apply their problem-solving skills beyond their own economic sector, creative industries’ agents increasingly establish social enterprises and aim to address fundamental societal problems and needs (Jaaniste, 2009; Williams, 2017). Along with the shifting roles of the public, private and social sector (Phills et al., 2008) they can thus become trailblazers of social innovations. Novel business models and financial approaches, such as the recent interest of social finance in the creative industries (Rockefeller Foundation, 2017), can support this development further. The arising creative social sphere is an emerging phenomenon that this special issue aims to investigate further. Gaps in knowledge and theory concerning (1) understanding the process of the creation, legitimisation, absorption and institutionalisation of creative social innovations and (2) creative social enterprises in general are of interest.
We invite empirical and conceptual papers addressing these two broad subject areas, as well as on topics such as (and this list is not intended to be exhaustive):
The creative economy has formed an integral part in policy and economy debates and agenda settings in many countries in recent years. Likewise, social innovation as a process and phenomenon is widely recognized in social policy debates (Adams and Hess, 2010; DCMS,2016; UNESCO, 2018). (How) Do the two relate, inform, overlap or hinder each other?
In particular what is the role of policy and institutional frameworks in support and hindering the development of a socially driven creative sector?
The creative industries lie outside the realm of common social enterprise domains (e.g. health, sustainability, education) that are focus of much research. What old and new business models are adopted by creative social enterprises? (How) Does that influence their ability to attract social finance and capital?
Creativity and e.g. design thinking methods have developed into highly desirable skills and tools in enterprises in basically any given industry (Newbigin, 2017). What are tools that creative entrepreneurs and enterprises possess, that are relevant specifically for social enterprises and social entrepreneurs and vise versa?
The creative economy is dominated by micro and small and medium-sized businesses (European Commission, 2013).Entrepreneurial expertise and business acumen is often limited. Do social entrepreneurs and enterprises poses means to address that need?
We welcome papers with specific geographical focus and case studies. Given the location of the event we welcome also papers about Singapore and its institutional framework in relation to creative social enterprises.
DEADLINE TO SUBMIT AN ABSTRACT:
5th October 2018
SUBMITTING AN ABSTRACT
We are interested in contributions from all interested scholars, including PhD students, as well policy makers and practitioners, by email, a paper proposal (abstract) of around 500 words by no later than 1st October 2018 to the event organisers at: firstname.lastname@example.org
Abstracts must include full contact details and a short 250 words biography of the presenter.
Applicants will be contacted by 10th of October 2018 to confirm their acceptance.
Presenters will be also invited to submit to a forthcoming (2019) special issue of the Social Enterprise Journal following feedback from the workshop
Adams, D., & Hess, M. (2010). Social Innovation and Why it has Policy Significance. Economic and Labour Relations Review, 21(2), 139–156.
Cajaiba-Santana, G. (2014). Social innovation: Moving the field forward. A conceptual framework. Technological Forecasting and Social Change, 82(1), 42–51.
DCMS. (2016). Classifying and measuring the Creative Industries. Department for Culture, Media & Sport. London.
Edwards-Schachter, M., & Wallace, M. L. (2017a). ‘Shaken, but not stirred’: Sixty years of defining social innovation. Technological Forecasting and Social Change, 119, 64–79.
European Comission. (2013). Survey on access to finance for cultural and creative sectors. Retrieved June 9, 2018, from http://ec.europa.eu/assets/eac/culture/library/studies/access-finance_en.pdf
Jaaniste, L. (2009). Placing the creative sector within innovation: The full gamut. Innovation: Management, Policy and Practice, 11(2), 215–229.
Low, L. (2001). The Singapore developmental state in the new economy and polity. The Pacific Review, 14(3), 411–441.
Mulgan, G., Tucker, S., Ali, R., & Sanders, B. (2008). Social Innovation: What it is, why it matters and how it can be accelerated. Oxford.
Newbigin, J. (2017, November 16). What is the creative economy ? British Council. Retrieved from https://creativeconomy.britishcouncil.org/guide/what-creative-economy/
Pereira, A. (2007). Attitudes towards Entrepreneurship in Singapore: The Role of the State in Cultural Transition. Asian Journal of Social Science, 35(3), 321–339.
Perez, C. (2009). Technological revolutions and techno-economic paradigms. Cambridge Journal of Economics, 34(1), 185–202.
Phills Jr, J. A., Deiglmeier, K., & Miller, D. T. (2008). Rediscovering Social Innovation. Stanford Social Innovation Review, Fall, 34–43.
Potts, J. (2011). Creative Industries and Economic Evolution. Cheltenham: Edward Elgar Publishing Ltd.
Rao-Nicholson, R., Vorley, T., & Khan, Z. (2017). Social innovation in emerging economies: A national systems of innovation based approach. In Technological Forecasting and Social Change (pp. 228–237). Elsevier Inc.
UNESCO. (2018a). Creative Industries. Retrieved August 15, 2018, from http://www.unesco.org/new/en/culture/themes/creativity/creative-industries/
Upstart Co-lab. (2017). A Creativity Lens for impact investing. Upstart Co-lab.
van der Have, R. P., & Rubalcaba, L. (2016). Social innovation research: An emerging area of innovation studies? Research Policy, 45(9), 1923–1935.
Williams, G. (2017). Are Artists the New Interpreters of Scientific Innovation ? Retrieved November 5, 2017, from https://www.nytimes.com/2017/09/12/t-magazine/art/artist-residency-science.html