Petteri Ikonen, Doctor of Arts, Dean and Director in the School of Business and Culture, South-Eastern Finland University of Applied Sciences – Xamk
The cultural and creative sectors are among the powerhouses of European economic growth. In the EU, there are five times more people employed in these sectors than in the data communications sector. These sectors also interest young people: one fifth of employees are under 30. Furthermore, higher education plays an important role in the employment of cultural sector students.
The paradigm for value creation in creative sectors is the logic of the generation of immaterial value. It is no longer a question of labour-intensive processing industries and economic growth based on corporation tax revenue, but rather creative expertise which, as human capital, enables the development of new products and services and the management of the economic rights associated with them. Understanding of creative expertise and processes and the leadership of these serve to strengthen the capacity for renewal and innovation in other sectors as well.
The future of creative sectors is more and more dependent on broad cooperation both between different creative fields and with other sectors as well. An important skill is networking expertise, which includes the development and leadership of networks as well as an understanding of the common ethos of creativity and technology. Network operations make use of time- and place-independent multiculturalism and multi-competencies while simultaneously enriching local culture and entrepreneurship.
Value networks are platforms which people and groups join based not on sector-specific expertise but rather on value-based similarities and goals. A requirement for the development of creative sector business activities is an understanding of both the new kind of innovative thinking and activity generated in the new value networks and also the significance of the intersection of new competence combinations for innovation and the renewing economy.
By taking hold of new kinds of value network models, businesses and communities take a leap forward into the following phase, in which the value network operating models are identified and networks of networks can be developed and led. This is a question of entire ecosystems which are composed of businesses, funders, customers, decision-makers and research organisations that interact and dynamically affect each other. The shared operating platform of creative integration enables the value-based construction of networks which are led with professional expertise and a strong global and future-orientated perspective. The importance of creative, communal and motivating leadership increases, and the significance of values and moral leadership is emphasised.
Agility and the productive use of differences strengthen businesses’ competitiveness, and at the same time their growth is based on combining forces through networks. An individual creative sector business develops innovations within the ecosystem, but also develops a number of drafts and prototypes of which only some turn out to be relevant for the business itself. This overproduction is one of the value network’s resources, which serves to energise all those involved towards the development of new services, artworks and products.
These kinds of interactive hubs can lead to the birth of multinational giants, but also to hundreds of smaller businesses and organisations outside of the growth centres. It is about crowd-sourcing expertise – value networks enable businesses to grow and access international markets.
The third duty of universities of applied sciences, regional development, has been viewed as relating only to having an impact on a geographically restricted area. In the new value creation paradigm, the local and the global are strongly connected. The local offers expertise in personalisation, uniqueness and advanced regional user understanding. The global offers operators a scalable and multi-value competency spectrum through which the world is open to the multi-value development of art, technology and innovation. It is no longer only about the responsible development of one particular geographical region, but also about the creation of a new operating culture and a new stage of economic and social well-being in a glocal operating environment.
Katri Halonen, PhD, Phil.Lic., Principal Lecturer, Metropolia University of Applied Sciences, katri.halonen(at)metropolia.fi
Silja Suntola, B.M., M.Mus., South-Eastern Finland University of Applied Sciences – Xamk, silja.suntola(at)xamk.fi
This article is based on an interview with Tuomo Suntola (PhD in electron physics, 1971). The aim was to take some distance from the traditional view points from the arts and cultural sector, as science can and should behold the same elements of creativity and innovation as the arts and cultural sectors. Dr. Suntola achieved the Millenium Technology Prize 2018 that highlights the extensive impact of science and innovation on the well-being of society. Now Suntola talks about the connections between arts and sciences. His main messages include holistic thinking, dealing with practical issues as well as the importance of understanding the real needs for new solutions and innovations. And how he sees the role of art-based competencies in this equation.
Key words: art, science, creativity, multidisciplinary
Elisa Lahti, M.A. (Art), coordinator, Lapland University of Applied Sciences, elisa.lahti(at)lapinamk.fi
Creativity is often seen as an attribute of a particularly talented, creative person. Instead of merging this feature to selected individuals, we should emphasize creativity’s collective nature and the potential everyone has to develop creativity in itself. We will need creative solutions from people on all fields of life if we want to have a sustainable future for all. We cannot just leave the burden of future to the few particularly talented, creative individuals.
Key words: creativity, creative thinking, future making
Kari-Pekka Heikkinen, Dr.Sc., Oulu University of Applied Sciences, kari-pekka.heikkinen(at)oamk.fi
New learning environments develop the T-shaped skills for knowledge workers. An innovative and interdisciplinary learning environment is full of opportunities and challenges for learning, as it requires creative and executive activity from the group. In such an environment, interdisciplinary interaction and T-shaped skills are a prerequisite for learning. Utilising the traits of creative personalities should be ensured as part of an interdisciplinary group’s innovation activity and crossing its boundaries. In addition, validating and coaching the group interaction should be a conscious activity as well as part of the learning assessment.
Key words: boundary crossing, innovation activity, interdisciplinary, knowledge worker, T-shaped skills
Juho-Pekka Virtanen, M.F.A., Doctoral Student, Aalto University, The Research Institute of Modeling and Measuring for the Built Environment (MeMo) & NLS Finnish Geospatial Research Institute FGI, juho-pekka.virtanen(at)aalto.fi
Marika Ahlavuo, Science Producer, Cultural Producer, MeMo, marika.ahlavuo(at)aalto.fi
Matti Kurkela, Lic.Tech., M.A., Studio Manager, Aalto University, MeMo, matti.kurkela(at)aalto.fi
Hannu Handolin, Bachelor of Design, 3D artist, Aalto University, MeMo, hannu.handolin(at)aalto.fi
Kaisa Jaalama, Doctoral Student, M.Sc. (Admin.), Aalto University, MeMo, kaisa.jaalama(at)aalto.fi
Hilkka Hyttinen, Director, Jyväskylä City Theatre, hilkka.hyttinen(at)jyvaskyla.fi
Hannu Hyyppä, Professor, Dr.Sc. (Tech.), Adjunct Professor, Aalto University, MeMo & NLS Finnish Geospatial Research Institute FGI, hannu.hyyppa(at)aalto.fi
Smartphones and tablet computers have become everyday items. These devices are also a common channel for a growing share of media content. Digitalisation enables the distribution of culture services for new target groups. In addition, the technology shift has brought new tools, like 360° cameras, for capturing the environment and events. These have already been widely tested for documenting concerts and other live events. The utilisation of developing tools in a multidisciplinary cooperation in creative industries requires having suitable equipment, proper working methods and know-how. “The Virtual Adventure to the World of Theatre” project piloted several innovative digital productions in theatre, leveraging multidisciplinary cooperation. These pilot productions were novel in Finland.
Key words: 3D, culture, experiment, technology, theatre
Hanna Nygren, M.Ed., Project Researcher, Koulutuksen tutkimuslaitos, University of Jyväskylä, hanna.nygren(at)jyu.fi
Heidi Piili, Dr.Sc., Docent, Laboratory of Laser Materials Processing, Dept. of Mechanical Engineering, LUT School of Energy Systems, LUT University, heidi.piili(at)lut.fi
Marika Hirvimäki, M.Sc., Project Researcher, LUT School of Energy Systems, LUT University, email@example.com
Eija Mustonen, M.A. (Art and Design), Degree Programme Manager, Saimaa University of Applied Sciences, eija.mustonen(at)saimia.fi
Maarit Virolainen, PhD, Post-doctoral Researcher, Koulutuksen tutkimuslaitos, University of Jyväskylä, maarit.ha.virolainen(at)jyu.fi
The article reviews experiences gained in the LARES project. In the project, the research group of laser materials processing of LUT University, the Saimaa University of Applied Sciences’ departments for business administration and fine arts, and six enterprises collaborated to learn from artists’ cultural understanding for the enhancement of a company’s value creation and meaning-making of their products and services. From the technological point of view, the target was to familiarize artists with laser processing so that they could utilize it in their creation of new objects.
During the project seven artists had the opportunity to utilize 2D and 3D modelling and additive manufacturing (known also as 3D printing) and laser processing for cutting, welding, marking, coating and bending for materials such as metal, wood, plastics, stones, textiles, leather, acrylic or ceramics. For the research group, the project enabled experimenting with new materials and processes. In the article, the teachers Eija Mustonen (UAS) and Marika Hirvimäki (LUT) are interviewed considering their experiences from the project, from today’s perspective.
Key words: 3D modelling, laser technology, technology, visual arts
Marja-Leena Kauronen, D.H.S., Principal Lecturer, Head of the Health Promotion Programme, South-Eastern Finland University of Applied Sciences – Xamk, marja-leena.kauronen(at)xamk.fi
Kirsi Purhonen, Community Educator (Master’s degree), Project Manager, South-Eastern Finland University of Applied Sciences – Xamk, kirsi.purhonen(at)xamk.fi
The Versus project at the South-Eastern Finland University of Applied Sciences brought together Game Design and Health Promotion. The story of the game addressed risk factors associated with smoking, supported adolescents’ critical thinking and influenced their attitudes. The development of the game was based on the research of picture-based recognition of smokers.
The game includes questions about smoking and the players were allowed change their answers at the end of the game. Non-smokers’ awareness about the critical thinking of smoking increased along the game. Adolescents involved in developing the game. Combining gamification with smoking prevention was a meaningful method.
Key words: adolescents, game designer, health promotion, prevention, smoking
Anitra Arkko-Saukkonen, M.A. (Arts), Senior Lecturer in Arts, Lapland University of Applied Sciences, anitra.arkko-saukkonen(at)lapinamk.fi
Work-related skills, brainstorming and the ability to innovate are essential for creative professionals as well as for visual artists. The aim of the students of fine arts at Lapland UAS is to deepen their skills in artistic work through their own experimental digital art production at the end of their studies. The art education programme solved the challenge of creating a new art production and started to use the Creative Steps ART model as a design tool and learning method. The approach includes several tools for promoting ideas. Steps are used to guide creative thinking, brainstorming and project promotion. After trying out the Creative Steps model, we wanted to hear the students’ experiences and develop the model through co-design. Creative Steps redesign model has evolved and is being streamlined from ten steps to seven. During the studies, it is important to be able to test innovation models and development methods from which you can choose the most appropriate tools for your future use.
Key words: art project, Creative Steps, Creative Steps ART, ideation, innovation, service design, visual arts
Minna Hautio, M.A., Senior Lecturer, Humak University of Applied Sciences, minna.hautio(at)humak.fi
Today the audience development programmes of museums encompass a broad range of activities and target groups. A recent experiment in developing this field is currently being carried out by Aboa Vetus & Ars Nova Museum, The Museum of Technology, Humak University of Applied Sciences and Junior Achievement Finland. The idea was based around using museums as sources for innovation. To test and develop the idea, think tanks and innovation courses were arranged for university students. Learning to innovate in museums combines formal and informal ways of learning. The key factor is to facilitate innovative thinking as much as possible by informal learning and help it develop into an innovation by providing a formal structure to support it. During the process, students were exposed to several artistic and thematic interventions in the museums. This, and the aesthetic and relaxing atmosphere of the museum, helped them distance themselves from the boundaries of the more ordinary thinking created by classroom setting and become more creative. Feedback was overall positive and the results show that museums can, indeed, be useful places for boosting innovative thinking.
Key word: culture production, innovation education, learning environments, museums
Pia Jääskeläinen, M.Sc. (Econ.), Senior Lecturer in Digital Marketing, South-Eastern Finland University of Applied Sciences, pia.m.jaaskelainen(at)xamk.fi
Holistic wellbeing, balanced life management and measuring physical exercises and recovery are major wellbeing trends. In order to address the challenges of the future world of work, educational institutions and lecturers must offer the students education in an innovative and unprejudiced manner already during the studies. This often requires lecturers to step out of their comfort zone. South-Eastern Finland University of Applied Sciences offers a new degree program in Wellbeing Management, which incorporates a tailored curriculum based on three different sectors; business, information technology and wellbeing and healthcare. In addition, the research and development center Active Life Lab and various projects play key roles in the program. The degree program is executed in an innovative, experimental and entrepreneurial manner. Lecturing is done in expert teams, and one team includes lecturers from all three sectors as well as RDI and communications.
Key words: business, innovation, IT, wellbeing
Ellen Harpel, PhD, President, Business Development Advisors, LLC, eharpel(at)businessdevelopmentadvisors.com
Gig and independent work is substantial and growing, with wide-ranging social and economic implications. Individuals are increasingly likely to engage in this type of work during their careers and will need a new set of competencies to thrive. In addition, policy conversations around career and technical education, worker benefits/protections, and the future of work should consider the effects on this growing population.
Key words: gig economy, gig and independent work, future of work, workforce development, career and technical education, competencies
Hanna Rajalahti, D.Pol.Sc., Principal Lecturer, Haaga-Helia University of Applied Sciences, hanna.rajalahti(at)haaga-helia.fi
Creative sectors are recognized by government as a potential driver of Finnish economy. Still, the utilization of creative competence in other industries is difficult. One solution is to train intermediaries to strengthen the collaboration. This article discusses a pilot training for artists and designers in order to develop their skills and competences to act as intermediaries between artists and (public) builders. A central skill recognized in the pilot training was customer insight.
Key words: business administration, creative fields, entrepreneurship education
Benny Majabacka, Medianomi, Kulttuurituottaja MA, Projektipäällikkö ja kulttuurituotannon lehtori, Humak, benny.majabacka(at)humak.fi
Henry Paananen, FM (tietotekniikka), lehtori, HAMK Ammatillinen opettajakorkeakoulu, HAMK Edu -tutkimusyksikkö, henry.paananen(at)hamk.fi
Creve is an incubator for creative industries under Humak University of Applied Sciences. In the Creve 2.0 project, one of the aims is to develop nationwide creative business consulting services structure, based on a multidisciplinary network and expertise that are not tied to physical location. One of the concepts to be developed is the virtual group advisory service for creative entrepreneurs.
The starting point for the virtual online consulting is to enhance the user experience by something that cannot be achieved in face-to-face interaction. With the help of new technologies, the participant can delve deeper into the topic and thus strenghten his/her learning experience. The operating environment can be modified in to the desired direction and it may strenghten the emotional state of the participant. Various functions can be demonstrated through XR technology and influence the adoption of things to be learned. Mental and motoric skills can also be honed through virtual opportunities. The virtual environment creates new opportunities for human interaction and operating costs can be lowered.
Key words: XR, extended reality, creative business services, virtual environments, cultural production
Juhani Talvela, Lic. Tech., Aalto University, The Research Institute of Modeling and Measuring for the Built Environment (MeMo) & NLS Finnish Geospatial Research Institute FGI, juhani.talvela(at)aalto.fi
Marika Ahlavuo, Master of Culture and Arts (Cultural Producer), Science Producer, MeMo, marika.ahlavuo(at)aalto.fi
Matti Kurkela, Lic. Tech., M.A (Arts and Culture), Studio Manager, MeMo, matti.kurkela(at)aalto.fi
Hannu Hyyppä, D.Sc. (Tech), Professor, Director, MeMo, hannu.hyyppa(at)aalto.fi
Intangible assets are found increasingly important in contemporary economies. Especially in the fast developing countries they are a key means of production and competitiveness. Protecting the intellectual outcomes of creative industries is both important and challenging. The traditional copyright protection remains poorly understood and utilized, while its protection is ever more challenged in the judicial prosecutions. Low awareness and lack of support render the use of copyright and other IPR protection inefficient and scarce. This challenge is further emphasized in a networked economy. Improving education of IPR and supporting efficient utilization of the rights is elemental for the creative industries of Finland. While copyright remains important there is an increase in the need to account for other IP rights, too.
Key words: copyright, IPR, industrial rights, creative industries, education
Nina Luostarinen, M.A. (Arts and Culture), Senior Lecturer in RDI, Humak University of Applied Sciences, nina.luostarinen(at)humak.fi
This article is based on an article collection published in December 2018. It presents the best practices of a Central Baltic funded project called Lights On! active in 2015-2018. The project aimed to illuminate 8 cultural heritage sites (4 in Finland, 4 in Estonia) both concretely by infrastructure works and metaphorically by using different means of art-based participatory activities. This article summarises the best of those art experiments on sites and reflects the importance of art in enhancing the personal experience of these locations and thus increasing place attachment.
Key words: art-based actions, cultural heritage, cultural management, participation
Johanna Heinonen, M.Sc. (Econ.), M.A., Research Manager, South-Eastern Finland University of Applied Sciences, johanna.heinonen(at)xamk.fi
Culture tourism is an essential and contemporary part of tourism development all around Finland. However, combining traditions of the culture sector and tourism has proved to be challenging. When studied further, one can notice that the definitions and the concepts both in tourism and culture rely on the same basis without any remarkable differences. Even though the basic function of the culture sector is often more local and educating, tourism can provide new ideas for development and new income sources for the culture sector. Also, sustainable tourism trends support the idea of preserving cultural heritage. So, as a matter of fact, challenges are mostly due to false pre-assumptions and old-fashioned opinions. With more open discussion and tighter co-operation between the culture sector and the tourism industry, we can overcome these challenges and get new ideas or constructive critique, which together are the core of successful business and collaboration.
Key words: co-operation, culture, culture tourism, development, tourism