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Glăveanu, V. P. (2012). Habitual Creativity: Revising Habit, Reconceptualizing Creativity. Review of General Psychology, 16(1), 78–92. - ref

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Glăveanu, V. P. (2012). Habitual Creativity: Revising Habit, Reconceptualizing Creativity. Review of General Psychology, 16(1), 78–92. - ref

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We have posted a YouTube video feat. Dr. Hernando Blandón-Gómez (UPB-Medellín) talking about creativity: https://youtu.be/A1GHd7uK8mk

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Conversando sobre creatividad y la relación entre docentes y estudiantes

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Participate in a survey-exchange of  failure creative practices

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Participate in a survey-exchange of  failure creative practices

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This survey is anonymous. The results will be used for academic publications

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As creative teachers we dream and design our classes based on our dreams based on the reflection on our experience - but it does not always go as we expect.

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Harris, D., & Holman Jones, S. (2022). A Manifesto for Posthuman Creativity Studies. Qualitative Inquiry.

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Creativity and Epistemologies of the South - ref.

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Creativity and Epistemologies of the South - ref.

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Glăveanu, V. P., & Sierra, Z. (2015). Creativity and epistemologies of the South. Culture & Psychology, 21(3), 340–358.

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Rowan University, Mullica Hill Road, Glassboro, NJ, USA

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Rowan University, Mullica Hill Road, Glassboro, NJ, USA

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Rowan University, Mullica Hill Road, Glassboro, NJ, USA

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This is a link to Walter S. Gershon's academia.edu page where you can find links to much of his scholarship.

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Walter Gershon | Rowan University - Academia.edu

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Academia.edu is a place to share and follow research.

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State University of New York at Binghamton, Vestal Parkway East, Binghamton, NY, USA

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State University of New York at Binghamton, Vestal Parkway East, Binghamton, NY, USA

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State University of New York at Binghamton, Vestal Parkway East, Binghamton, NY, USA

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Inspired by the recent Black Perspectives “W.E.B. Du Bois @ 150” Online Forum, SO!’s “W.E.B. Du Bois at 150” amplifies the commemoration of the occasion of the 150th anniversary of Du Bois’s birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as “sound studies.”

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This soundwork resides somewhere between a podcast and academic scholarship. Using W.E.B. DuBois’ (1926) arguments about the centrality of aesthetics and the Arts to liberatory practices and justice in Criteria for Negro Art, this piece argues for the significance of Black joy at school as a powerful pathway for interrupting layers of oppression in schooling. It is a work that seeks to convey these understandings as much affectively as epistemologically, where getting a feel for the argument matters at least as much as grasping the points raised throughout.

Sounds for this work are drawn from a four-year longitudinal sonic ethnographic project that was first rendered as a piece of soundart, exhibited at the Akron Art Museum from March through July 2012. The purpose of this project was to examine how writing songs about science might help students of color and girls (of color) more deeply experience and otherwise engage academic content. Students and teachers serves as co-researchers, documenting students’ songwriting processes, gathering audio and video recordings of their work, interviewing one another and the like. Given the collaborative nature of this project, with proper layers of student assent and parental consent, participating first, fifth, seventh, and eighth graders and their teachers used their actual names to receive credit for their work. As the study was winding to a close, I also engaged in an extension activity with first graders to better get a sense of how they conceptualized the school. To these ends, I first took pairs of first graders then had them work with one-on-one with their fifth grade buddies to video and audio record their three favorite places in the school.

Bookending the piece are two slices of the same half hour recording of fifth graders in Mrs. Grindall’s 5th grade classroom, Taris, Gayle, Tia, and Ki-Auna as they negotiate one of their songs about planetary motion and phases of the moon. The piece continues with Colton’s recording of the spaces and places he likes most at school including the art room, followed by part of Lanaria’s recording of the cafetorium (period!), then Delante’s recording of his first grade teacher Mr. Bennett’s room where he spent most of his days (lockers is amazing!). The sounds at the end of the piece start with Najah’s talk at the library as she looks out the window and the school’s “wall of fame” located there, with Gayle helping along. The middle sounds are exactly what one might think, bunches of first graders and their fifth grade buddies passing each other along the hall, ending with the friends doing a take of their song, messing up, and keeping rolling for the joy of it.

Along with layering and assembling the above recordings, all other sounds, their composition and arrangement are played, edited, and recorded by the author (Instrumentation: shaker, chekere, guataca, vibratone, udu, and bass). A short reference list for scholarship supporting the arguments made can be found below.

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Inspired by the recent Black Perspectives "W.E.B. Du Bois @ 150" Online Forum, SO!'s "W.E.B. Du Bois at 150" amplifies the commemoration of the occasion of the 150th anniversary of Du Bois's birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as "sound studies."

It has been an abundant decade-plus (!!!) since Alexander Weheliye's Phonographies "link[ed] the formal structure of W.E.B. Du Bois's The Souls of Black Folk to the contemporary mixing practices of DJs" (13) and we want to know how folks have thought about and listened with Du Bois in their work in the intervening years. How does Du Bois as DJ remix both the historiography and the contemporary praxis of sound studies? How does attention to Du Bois's theories of race and sound encourage us to challenge the ways in which white supremacy has historically shaped American institutions, sensory orientations, and fields of study? What new futures emerge when we listen to Du Bois as a thinker and agent of sound?

Over the last two months, we have shared work that reimagines sound studies with Du Bois at the center. Pieces by Phillip Luke Sinitiere, Kristin Moriah, Aaron Carter-Ényì, Austin Richey and Julie Beth Napolin move us toward a decolonized understanding and history of sound studies, showing us how has Du Bois been urging us to attune ourselves to it. To start the series from the beginning, click here.

Readers, today's post by Vanessa Valdés closes our series: she explores the limits of Du Bois' echo chamber metaphor within the context of a Black diaspora that looks past the white gaze and within its spiritual practices for recognition.
-Jennifer Lynn Stoever and Liana Silva, Eds.
In "The Concept of Race," the fifth chapter of his autobiography Dawn of Dusk (1940), W. E. B. Du Bois theorizes the psychological damage of caste segregation using the metaphor of the echo chamber. He writes of being imprisoned within a mountain, looking out, speaking "courteously" and yet remaining unnoticed: "the passing throng does not even turn its head, or if it does, glances curiously and walks on" (66). As per Du Bois's imagery, white supremacist segregation renders Black subjects ultimately unintelligible, even to themselves, as they "may scream and hurl themselves against the barriers, hardly realizing in their bewilderment that they are screaming in a vacuum unheard and that their antics may actually seem funny to those outside looking in" (66). Du Bois railed against the irreparable harm that results from legal and cultural separation of people on the basis of race; he focuses on the interactions between Black communities and a dominant white supremacist society, highlighting the damage inflicted by Black peoples upon Black peoples themselves when they continually attempt to prove their humanity to a white supremacist capitalist heteropatriarchal imperialist population in control of socioeconomic political systems within the United States and in fact throughout the Americas.

What then? Du Bois presents a vision in which there is no room, literal or figurative, for resistance to this seemingly pervasive surveillance that, in the words of Jennifer Stoever in The Sonic Color Line: Race and the Cultural Politics of Listening (2016), renders peoples of African descent "soundproofed yet hypervisible, constantly on display for the curiosity of the white gaze" (260). If there continues to be a search for acceptance, for recognition and acknowledgement of one's humanity on behalf of "the white gaze," what happens when it does not come? This essay presents a select history of musicians who, irrespective of a white audience, and in the face of a seemingly flattened definition of Blackness that is limited to an adherence to the Black (Christian) Church here in the United States, instead channel their multiple identities by invoking the orishas of the religion of Regla de Ocha. In it are aspects of Black culture that remain, in the words of E. Patrick Johnson in " Black Performance Studies: Genealogies, Politics, Futures," "illegible and unintelligible to the undiscerning eyes and ears, and perhaps minds, of some scholars." These artists resist the urge to explain, defying an unspoken dictate that their art must be completely comprehensible to all who interact with it. They draw from source material that for millions internationally is a viable source of inspiration on its own terms, without elucidation.

Known alternately as Santería, Yoruba, Lucumí, and Ifa, this religion, like others of the African diaspora in the Americas, call for their practitioners-formal initiates or simply those who show respect and affinity-to achieve balance on the paths to their destiny. According to Regla de Ocha, human beings, like the nature that surrounds us, are sparks of the divine made manifest; practitioners interact with the environment in order to reach said equilibrium through intoned supplications. While associated primarily with Black populations of the Hispanic Caribbean, those who are faithful are found throughout the hemisphere and in fact, throughout the world.

In the anglophone world of Black music here in the United States, critics have written about the multiple influences of gospel on the development of rhythm and blues and other musical genres, as made patently evident in Aretha Franklin's homegoing services as well as Peter Guralnick's Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom (1986). Within the luso-hispanophone audiences in this hemisphere, there has been a similar inclusion of African diasporic religious music within popular genres. Prayers and chants within popular music and literature reflect systems of knowledge that have undergirded communities of African descent for centuries on both sides of the Atlantic and throughout this hemisphere. Those who know, who can see and hear those resonances, for them, there is no regard for the understanding of a dominant white audience; it is simply not for them. And it is here, in the knowledge that these works invoke systems of being that are inaudible and unappetizing to mass consumption, where one can wrestle out of the echo chamber.

In this series for Sounding Out!, Aaron Carter-Ényì has written about Du Bois's theories on sound; on his musical transcriptions in The Souls of Black Folk (1903); the African retentions of the Gullah-Geechee population (1903); and the resonance of the drum within African music itself The World and Africa (1947). However, Du Bois did not look to a growing Spanish-speaking population that had migrated from the Hispanic Caribbean, particularly Cuba and Puerto Rico, that would also provide him evidence of the continued African heritage. As historian Nancy Raquel Mirabal writes in Suspect Freedoms: The Racial and Sexual Politics of Cubanidad in New York, 1823-1957 (2017), these men and women were working-class economic migrants, the majority of whom were of African descent: Black Cubans and Puerto Ricans arrived in the 1920s, 1930s, and 1940s, immediately impacted the musical scene. This would give way to the explosion of musical forms popularized here, including conga, mambo, rumba, cha-cha-cha, and later, salsa. (See César Miguel Rondón, The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City, 2008.) All of these musical forms grow out of religious African music; the rhythms of religious ceremonies provide the literal foundation out of which these genres flourish. Practitioners can parse out these inflections; those without this knowledge simply engage. Those who know, know; those who make the music do so without consideration for exposition.

A 1950s U.S. audience witnessed Lucy Ricardo visit her husband Ricky at the club and sing " Babalu"; backed by his orchestra, it was originally a hit for Desi Arnaz in 1947 on RCA Victor records. In a later episode, Ricky would be backed by his young son, in an effort to demonstrate the continued influence of his Cuban heritage. Hector Lavoe's " Aguanile" (1978) remains a classic both within his catalog as well as the larger genre of Salsa's golden era of the 1970s; his labelmate Celia Cruz's " A Santa Barbara" is a remake of Celina González and Reutilio Jr.'s 1949 hit of the same name. In this century, Carlinhos Brown released " Aganjú" in 2003, a year after his compatriot, Bebel Gilberto found success with her version in Brazil. In the United States, a remix of Gilberto's adaptation was featured on the soundtrack of the HBO show Six Feet Under. In the last minute of their first hit, " River" (2015), the Ibeyi break their allegorical ode to the Oshun by making plain the entity to which they sing. On the same release, they sing to the entity associated with transformation in a song of her name, " Oya." Daymé Arocena begins her 2017 release, Cubafonía, with " Eleggua," he of the crossroads. Beginning with their 2015 debut " 3 Mujeres " Ìlé have consistently brought together religious music with current soul and hip hop to larger audiences.

As these examples attest, there is at play an ethics of representation that is often misunderstood by non-practitioners of these religions; it is one that privileges confidentiality over explication. In a post-Enlightenment world that places emphasis on logic and reason, there exists a demand that everything be explained, be made legible. And yet, not everything is for everybody. Matters of spirit do not easily co-exist within Cartesian epistemological systems that demand bifurcation between the head and the heart. Within African diasporic religions - not only the ones mentioned here but also others including Palo Monte, Vodou, Obeah, Macumba, Candomblé - there is respect for the seemingly inexplicable. There is room for the miraculous, for that which can be found outside the realms of what has been deemed reasonable by systems of European thought. There is room for faith. And it is this kind of faith that practitioners of these Black religions - artists and scholars alike - respect when they refuse to explain the source of their joy, a joy I like to call "Black joy."

Beyoncé's (2016) fits into this oeuvre; here, the world's biggest pop star produced a work of art grounded in Black experiences of the Caribbean basin, including her family's U.S. Southern Black heritage in Texas and Louisiana. While notable for a great many features, for some the most invigorating part was the incorporation of visual allusions to sacred entities well-known to and easily recognized by practitioners of West African and African diasporic religions throughout the Americas. (For a sample of the analyses that emerged, see here, here, and here.) The inclusion of these markers situated Beyoncé firmly within this long tradition of the ability of Black artists in this hemisphere to employ imagery, particularly that related to religious traditions outside of orthodox Christianity, as a means by which to invoke more full, three-dimensional expressions of racial, gendered, and sexual identities. In Oshun's Daughters: The Search for Womanhood in the Americas (2014), I wrote about how women writers from United States, Cuba, and Brazil, writers such as Audre Lorde, Ntozake Shange, Cristina García, Nancy Morejón, and Conceição Evaristo, among others, all reference entities from these religions as a means by which to include complex portraits of womanhood in their work.

To return to Du Bois's echo chamber, the invocation of these entities allows practitioners to leave the mountain; there is no gazing to a mainstream culture for whom these prayers may be unintelligible. There is little consideration of explaining every element; again, those who know, know. They recognize a greater significance of the images, and are able to acknowledge allusions to whole systems of thought that are foundational to Black expressive cultures. These artists move forward accordingly. In 1926, The Nation published Langston Hughes's " The Negro Artist and the Racial Mountain," and his words continue to resonate: "We younger Negro artists who create now intend to express our individual dark-skinned selves without fear to shame. If white people are pleased we are glad. If they are not, it doesn't matter. [..] We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves." The white gaze of which Du Bois writes has no power in this formulation; instead, there is a turn away from the dominant white supremacist culture toward the richness that Black cultures offer. There is no flinging up against the metaphorical glass, no exhaustion in continued attempts to get them to acknowledge our humanity. They simply do not matter.

In her first novel, Sassafrass, Cypress & Indigo (1982), Ntozake Shange writes: "Drums and chanting ran thru the lush backwoods of Louisiana. Sassafras liked to think the slaves would have been singing like that, if the white folks hadn't stolen our gods. Made our gods foreign to us [...]" (214). The work of these artists suggests that These gods open up so many other possibilities for Black lives in the United States. These entities remain with those who choose to see, hear, and feel their presence, and even with those who don't. They tried to make our gods foreign to us: they failed.

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Featured image: "Woman dancing African dance in the street, São Paulo downtown" By The Photographer [CC BY-SA 4.0], from Wikimedia Commons
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Vanessa K. Valdés is associate professor of Spanish and Portuguese at The City College of New York; she is the editor of Let Spirit Speak! Cultural Journeys through the African Diaspora (2012) and The Future Is Now: A New Look at African Diaspora Studies (2012) and the book review editor of sx salon. She is the author of Oshun's Daughters: The Search for Womanhood in the Americas (2014).
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REWIND! . . .If you liked this post, you may also dig:
Spaces of Sounds: The Peoples of the African Diaspora and Protest in the United States-Vanessa Valdes Troubling Silence: Sonic and Affective Dispossessions of the African Slave Trade-Michelle Commander "I Love to Praise His Name": Shouting as Feminine Disruption, Public Ecstasy, and Audio-Visual Pleasure-Shakira Holt

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Amplifying Du Bois Forum - Sounding Out!

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Inspired by the recent Black Perspectives "W.E.B. Du Bois @ 150" Online Forum, SO!'s "W.E.B. Du Bois at 150" amplifies the commemoration of the occasion of the 150th anniversary of Du Bois's birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as "sound studies."

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"In Episode 26 Dr. Ng-A-Fook interviews Dr. Walter S. Gershon an Associate Professor of Critical Foundations of Education at Rowan University. Dr. Walter S. Gershon draws on curriculum, sensory and sound studies to share insights in relation to the COVID-19 Pandemic and systemic racisms. We discussed some of the following issues: accessibility to COVID-19 vaccinations, Sound Arts-Based Research (SABR), sonic theorizing, reverberations and resonances, confluences of being a musician and educational researcher, hearing and mishearing, Ridiculous White Institutions, policing normalcy, historical narrative wars, Franklin Bobbitt and legacy of Eugenics, everyday Afrosurreal experiences, Critical Race Theory, institutional violence, ethical dilemmas collaborating with communities, and so much more."

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In Episode 26 Dr. Ng-A-Fook interviews Dr. Walter S. Gershon an Associate Professor of Critical Foundations of Education at Rowan University. Dr. Walter S. Gershon draws on curriculum, sensory and sound studies to share insights in relation to the COVID-19 Pandemic and systemic racisms. We discussed some of the following issues: accessibility to COVID-19 vaccinations, Sound Arts-Based Research (SABR), sonic theorizing, reverberations and resonances, confluences of being a musician and educational researcher, hearing and mishearing, Ridiculous White Institutions, policing normalcy, historical narrative wars, Franklin Bobbitt and legacy of Eugenics, everyday Afrosurreal experiences, Critical Race Theory, institutional violence, ethical dilemmas collaborating with communities, and so much more.

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In Episode 26 Dr. Ng-A-Fook interviews Dr. Walter S. Gershon an Associate Professor of Critical Foundations of Education at Rowan University. Dr. Walter S.

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Creativity from the perspective of art education.

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Chapter 1 from a book that proposes using "aesthetigrams" to map holistic learning.

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Proposes a model for assessing creativity and also problematizes it.

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A nice review of lit of "creativity."

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This article nicely summarizes the challenges of assessing "creativity."

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End of Innovation Heller English Journal Nov 2014

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Valerie J. Janesick (2010). Oral History for the Qualitative Researcher: Choreographing the Story. The Guilford Press, pp. 185-186

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Valerie J. Janesick (2010). Oral History for the Qualitative Researcher: Choreographing the Story. The Guilford Press, pp. 185-186

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“Hawkins was radical because he went to the root of dance, saying that dance should be totally free movement. By this he meant dance should not separate thought and action. He believed that choreography and the resulting dance should be immediate and freed from space. He believed that dance should explore movement in and for itself. The pure fact of movement is the poetic experience of the present “now” moment. He wanted to throw away all crutches, so to speak, and find the deep physicality, intensity, and passion of the experience in the dance. He once said that, in fact, he would like to see the audience not just “look” at a dance with their eyes but with their whole bodies (Hawkins, 1992). <…> Hawkins believed that a teacher doesn’t actually “teach” a student. Rather, a teacher allows the student to uncover basic movement principles. Ultimately, the student is the best teacher. <…> For Hawkins the student of dance should understand movement to be able to be free of movement. <…> Hawkins was asked: “What do you consider the most beautiful dance?” Hawkins’s response included the following statements:
1. Dance that is violent clarity.
2. Dance that is effortless.
3. Dance that lets itself happen.
4. Dance that loves the pure fact of movement.
5. Dance that does not stay in the mind, even the avant-garde mind.
6. Dance that loves gravity rather than fights it.
7. Dance that never ignores either audience or music . . . or fellow dancers.
8. Dance that is grown up.
9. Dance that reveals the dance and the dancer.
10. Dance that knows dance is and should and can be a way of saying NOW.”

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Colombia, Medellín, Antioquia - Video on creatividad (2007, Universidad de Medellin)

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Colombia, Medellín, Antioquia - Video on creatividad (2007, Universidad de Medellin)

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"you have to be passionate about your project"

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"you have to be passionate about your project"

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"critical empathy between a teacher and a student is the key condition for opening the space for creativity" : conversation with Dr Hernando Blandón Gómez is coming soon.

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Here is another case study from a school teacher in Medellín. Natalia Ramírez (also a researcher at the Literacies in Second Languages Project research lab) shares student samples from her preschool English class.

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Here's a case study from a public school teacher in Medellín. Diego Piedrahita (also a researcher at the Literacies in Second Languages Project research lab) has been experimenting with creative ways to engage his students in learning English.

In his words:

"Here is a page in which I posted learners' creativity in pandemic times. I changed the lesson plans to allow my students how to recycle, and what to do with objects thy had at home. The goal was to see in our home a source of learning, whose hand-made products would work as hobbies to share with family during lockdown. We covered some grammar structures and vocabulary (indirectly) to describe the process to create something new, to detail the supplies or tools needed, to convice the reader about the importance of being creative, and most importantly, to show ourselves that learning doesn't limit to a school setting."
https://view.genial.ly/5f27981252aab50dbf6add2a

"Here are some funny news (negative situations turned into positive experiences)" https://view.genial.ly/5f3df2555318ff0d9014c9ef

"Here is an adaptation of the Russia World Soccer Cup 2018 as an opportunity to learn from other fields: geography, languages, religion, economy..."
https://www.compartirpalabramaestra.org/actualidad/noticias/mundial-de-futbol-rusia-2018-una-oportunidad-para-potenciar-el-ingles-traves-de-culturas

https://www.flickr.com/photos/iecamilotorresrestrepo/albums/72157673824491358

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This presentation is for you

Bored at home?

2020

ie. pbro. camilo torres restrepo

Diego PiedrahítaEnglish teacher

Campo Valdés - Medellín

The current pandemic must help us be more aware of our role as active learners, and how important our family environment is

Being at home does not mean stop working on our personal and academic growth.There's a lot to do at home, we just need to wish to turn negative situations into opportunities to become even more critical towards the current pandemic.In this site you'll find interesting options to make most of your time, by using recyclable objects, creating games and tools, sharing in family and practicing your English.Thanks to all of the students whose creativity and autonomy made this possible.

homemade games and gadgets

Let´s learn from our partners, their creativity, and English skills.

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Let's create something new and useful with simple objects

Creating a homemade game

Great ideas coming from simple objects

Recycled objects - new functions

First Next Then Later After this Finally

Time sequencers

Objects

Characteristics

Objects

I found some recyclable objects

Next I stuck some popsicle sticks on a box

Then I attached some toilet paper rolls

Later I painted the box bottom

After this I used a marble to go cross the obstacles

And finally I used a stopwatch to count the time

Carton box

Scissors

Foam cup

Cutter

Glue

Paint

Plastic bottle

Paper

Cardboard

Foam plate

Paint

Stapler

FantasticWonderfulIncredibleEasyCheap

BeautifulEntertainingInnovativeGreatUseful

ImportantFunnySpecialBigNew

GameHobbyToolOptionTable gameMemory gameChallenge

By Diego Piedrahíta

What about changing daily habits?

Look, I could become even smarter by designing new and useful objects at home.

It's easy! just focus on your home as a source of learning

Pandemic time, how to deal with it?

Do you accept the challenge to become a more active learner?let's do it!

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direct maze

Diego Correa (8°) shares a nice game created with recycled objects.

Click here

The game is called the direct maze consist of throwing a ball or marble and it depends on the number you drop is a question number and if the marble reaches the other end you win.Materials I made the game with a wooden box, straw cardboard for the base, ribbon, some domino squares to decorate, colbon, scissors, plastic bottles, etc.Questions 1- question number 1, you have to say the numbers from 1 to 202- question number 2, you have to make a sentence in english3- question number 3, you have to describe yourself4- question number 4, describe an animal5- question number 5, take a candy6- quesiton number 6, you win

Click here

A game to control your movements

This is a nice game designed by Jireth Martínez (9°)

Yes, it's called A False Move

Process:First I found some plastic bottles, some toothpicks and plastic bottle caps. The next thing I did was take a cutter and make some holes in the bottle so that I can put the chopsticks in the holes.Next thing was to take a cutter and i made some holes in the bottle so that i could stick the chopsticks in the holesThen I took another plastic bottle and cut the bottom to use as a lid for the game and the caps that I have incorporated could not come out.Later I look the chopsticks and painted them with different colors. And finally put all the lids in the bowl with all the chopsticks in place.Function:This game set is used to take the delicately chopsticks out of the bottle This game is used as a challenge to maintain and manage your speed and intelligence to choose the correct sticks.Instructions:The game is about removing toothpicks from the plastic bottle that have been placed in different ways, in the end the players must be left with asingle toothpick and the players must be left with a single toothpick and the player with the most caps will win.The player can't remove two or more chopsticks in the entire game, and it is not allowed to move the bottle in the final rounds. The player with the most caps wins.Characteristics:This is best game to improve skills, it is innovative for family members, this game is very entertaining and the best thing is that you do not need money to do it, is easy to play

Juan David Tilano (9°) teaches us how to reuse objects to create something new and useful

What about trying to create a lamp? ask your family for help, and enjoy it!

Click here

I made a lamp with semi-recyclable material.I used semi-recycled objects; A clean jar, and the energy system from an old lamp.First, with the help of my mom, I made a hole in the center of the top of the jar, then I put the energy system in the top of the jar. Finally, I connected it to the electric outlet.This lamp can be used to illuminate in the night, that light is soft, so you can use it to read in the night.To use it, you just need to connect it to the electric outlet.This lamp is characterized for being small, portable and utility, you can use it at any part of the day, this lamp is the best to read in the night. You can also use it to work at night. This lamp is the best for the practice life.

Joana Torres (9°) shares a wonderful job!

How to create a portrait at home.

Click here

marker organizer by camila londoño (9°)

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Salomé gallego (9°) designed something incredible:

Materials: -Cardboard that I had at home -Painting -Cardboard I had from past jobs -Caps that we recycle in my house -Scissors , toilet paper and some other implements

I took the cardstock first and mark 5 circles.I cut and pasted cardboard behind the cardboard to make it stable, paint itand wait for it to dry.

-Then with the same cardboard left over I made a circle for the base and with the toilet paper tube cut it to the extent of the lids, paint it and decorate.

-Finally I finished the details of everything.I created this game because I know that my family may like it and we are very funny so we would be very distracted by it,

I did it with materials that I had at home, I did not have to go out for absolutely nothing, I called it froggy shoot because the idea is that we put the cover in one of these holes at a distance,

1980

2000

1990

2010

2020

Samuel Calle Alvarez (9°) created a "pirinola" with objects he found. Look at how creative he is:

Samuel's work was inspired in his parents' favorite game.

Click here

Introduction:This is a game called Pirinola, it was my parents' favorite game, it consists of catching a jar on a stick.Process:I searched the yard for an old broom, broke to get a piece of wood, then took an empty milk jug, then took an old rope from some of my grandfather's shoes, then punched a hole in the jar with a knife, then insert the string through the hole and ate a knot to keep it from falling out of the jar, ate the string to the stick and the Pirinola is ready to play

Jilry Moreno (9°) shares a wonderful video describing how she created a game to have a good time at home.

Example

michelle orellana (9°) shares a creative game

Click here

Easy table game It is an increible game,increible option for a hobby.it is interesting to do it.

Steps:1) First we cut the box (as much as necessary) with the scissors, and then we make two holes on two sides of the box2) The next thing was to cover the whole box with blue crepe paper and white paper inside the box and glue it3) Then to dry all the parts of the box well, we cut the remaining pieces square or rectangular and in the same way we cover it with the previous papers4) Later glue the small pieces of cardboard to the box lined with glue5) And finally paint it on the outside of the box to try (play)

Steven Galeano (9°) designed a game by using recycled objects he found at home. He shares the process and materials to create it, as well as the instrucions.

Karen Cañas (9°) designed a triqui game with objects she found at home.

Have you ever played "triqui"?1. First, I searched thematerials2. Next, I cut the cartonbox in circle form and "X"form.3. Later, I painted thecircle form and "X" formand I drew the faces inthe circle form4. Finally, I tried.Thisgame was fantastic! It wasa strategic game. You mustthink where to put the token

Madelin Martínez (8°) designed something really interesting. She concluded that being at home is a good option to have a good time.Click on the image to know the process.

Click here

alexis quiroz (8°) and his new portable labyrinth

The purpose of this game is to have fun as a family, we know that the situation is difficult, but we can be distracted and have fun with this type of games.This game consists of a marble that you have to make it cross a whole maze without letting it fall into any hole.To put it together we found a cardboard box. We cut off the lid, also Popsicle sticks that we then paint in different colors. These are the materials we used.After having all the sticks painted we began to stick them and make holes in the lid and decorate the lid with a marker. When we had everything armed we started to play with a marble.The rules of this game are: It is limit of players Whoever takes the marble from the starting point to the arrival point wins without letting the marble go in any gap or in the event that no one arrives, whoever goes the furthest wins It is a family game, you can play no matter the age. You can make bets with family or friendsThis is a very fun and entertaining game, you can take it everywhere, to the farm, to school, to meetings and play it as a family; easy to carry does not take up much space, it is portable, it helps you to de-stress, to have concentration, ability, stress, coordination, balance, ideal for all ages; take it soon, they run out. Have your order online. Free delivery.

What about trying to seel these games and products?

The following recordings were planned to both improve pronunciation and intonantion, and to value what we did at home.It is an opportunity to love what we do to feel proud of ourselves, and to creatively show that we are really talented.

By Alexis Quiroz

By Madelin Martínez

Click on the image

By Johana Torres

By Evelyn Durango

Click on the clouds to play the audio

By Manuel Gómez

By Sofía Giraldo

The context can and must be seen as a source of learning, otherwise, school goals will keep on going away from society's needs

Diego Piedrahíta2020

Thank you

dear students(Camilo Torres School)

medellín

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My home as a place to plan, design and enjoy by Diego Piedrahíta on Genially

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This presentation is for you Bored at home? 2020 ie. pbro.

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As a follow-up to the first webinar with Walter Gershon, Bill Kist and Raúl A. Mora, Polina Golovátina-Mora joins Stein Erik Grønningsæter to talk about creativity in the context of art education courses. This webinar explores Grønningsæter's experiences as he questions the very nature of the tasks in his courses and why we need to do better to foster creativity in higher education and art education: https://youtu.be/ZjhiHo4OS08

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On Creativity and Art Education: A conversation

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A teacher of the first grade - let us not discuss bullying for now it can make many uncomfortable. But there is another urgent matter - the children do not address me with official You.
A teacher at the secocnd grade evaluates as lazy the christmas wreath assignment because the student put "too many things" in the design; next time the student is failed "for having done the assignment absolutely worng" because of drawing the hour arrow at exact and not slightly before the point of an hour while writing down the hour correctly.
A question: what is the school for?

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at the core of the conversation

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Dolores Umbridge - What School Is All About

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"it is not enough just to move around papers and pencils to be creative, but all this material should be energy for a person, inspire them"

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video essays and thinking/reflecting with video

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video essays and thinking/reflecting with video

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MA course (in Spanish) in Documentary Cinema. The course on author documentary focusing on work of Polish documentary director Wojciech Staron. All the essays were video essays. The final work - the third essay - was create one`s own video in the discussed author`s aesthetic style (as they understood it). Evaluation based on the discussion.

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utopia as a method of teaching discourse analysis and media role in the society

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utopia as a method of teaching discourse analysis and media role in the society

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A course (in Spanish) with the final semester - intergative course/introduction to discourse studies : the principle employed - live through - Utopian pedagogy - based on the united manifesto a utopian society was established, the students chose a role: media experts were developing media to sustain the society and media that the society would need; historians - analytics and resources; web masters - presenting and documenting the work (less chosen). Evaluation was self evaluation and collaborative help. https://construyesociedadu.wixsite.com/construyesociedad ; http://construcciondesociedad.blogspot.com.co/ ;  https://www.instagram.com/construye_sociedad_utopica/?hl=es

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Historia de la comunicación.
Universidad Pontificia Bolivariana.

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making multimodal novels to understand the meaning of research

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making multimodal novels to understand the meaning of research

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An example (in Spanish) a course tought in 2015-1 introduction in Social Epistemology - freshmen in Social Sciences. To understand the role of the social sciences in the society and the multiple ways of knowing and exploring the world - the students were divided into three groups and then, which were rotating. They were asked to do the research and write a fictional story about the society - the other group meanwhile was making graphic story - the editors were editing (collaborative evaluation). The results are here: https://decarasgaladhon.wixsite.com/novela/

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Brian Massumi in What animal teach us about politics (2014) approaches creativity on the premise of the concept of difference  and as such "opposite" to the "adaptive conformity to the constraints of given circumstance" and opposite to the "use-value or survival value" principle (Introduction)
" Do not mistake creativity for a diversion of instinct into symbolic realms (sublimation). This is little better than the opposite approach of containing expression in the constraining frames of function and adaptation. Either way, creativity is reduced to an epiphenomenon, and the style and grace of its expressive something- extras are reduced to superfl uity and ornamentation. In nature, creativity and instinct are inextricably entwined. They are in the act together, and play out together in the forward sweep of supernormal tendency carry ing both to higher powers. " (Supplement 2, p. 92)

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curatorial practice as teaching and MA coordination?

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curatorial practice as teaching and MA coordination?

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There was a moment in my work with journalists and future journalist, when everybody was speaking about the journalism as curatorial practice to address the distributed nature of knowledge.
Shouldn`t it be considered in classroom overall, in thesis coordination, in assessment?

how would it be different similar to teaching as DJing?

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Curation-related discourses have become widespread. The growing public profile of curators, the emergence of new curation-related discourses and their proliferation beyond the confines of museums, particularly on social media, have led some to conclude that we now live in an age of curation (Buskirk cited in Synder). Curation is commonly understood in instrumentalist terms as the evaluation, selection and presentation of artefacts around a central theme or motif (see O'Neill; Synder). However, there is a growing academic interest in what underlies the shifting discourses and practices. Many are asking what do these changes mean (Martinon) now that "the curatorial turn" has positioned curation as a legitimate object of academic study (O'Neill).

This article locates an exploration of the curatorial turn in journalism studies since 2010 within the shifting meanings of curation from antiquity to the digital age. It argues that the industry is facing a Foucauldian moment where the changing political economy of news and the proliferation of user-generated content on social media have disrupted the monopolies traditional news media held over the circulation of knowledge of current affairs and the power this gave them to shape public debate. The disruptions are profound, prompting a rethinking of journalism (Peters and Broersma; Schudson). However, debates have polarised between those who view news curation as symptomatic of the demise of journalism and others who see it as part of a wider revival of the profession, freed from monopolistic institutions to circulate a wider array of knowledge and viewpoints (see Picard). This article eschews such polarisations and instead draws on Robert Picard's argument that journalism is in transition and that journalism, as a set of professional practices, is adapting to the age of curation but that those traditional news providers that fail to adapt will most likely decline.

However, Picard's approach does not address the definitional problem as to what distinguishes news curating from other journalistic practices when the commonly used instrumental definition can apply to editing. This article aims to negotiate this problem by addressing some of the conceptual ambiguities that arise from wholly instrumental notions of news curation.

Modern instrumentalist definitions are necessary but not sufficient for an exploration of the curatorial turn in journalism. Tracing the meanings of curation over time facilitates an expansion of the instrumental to include metaphoric conceptualisations. The term originated in a Latin allegory about a mythological figure, personified as the "cura", translated literally as care or concern, and who created human beings from the clay of the earth. Having created the human, the cura was charged by the gods with the lifelong care of the human (Reich) and at the same time became a symbol of curiosity and creativity (see Nowotny). "Curators" first emerged in Imperial Rome to denote a public officer charged with maintaining order and the emperor's finances (Nowotny) but by the fourteenth century the meaning had shifted to that of religious officer charged with the care of souls (Gaskill). At this point the metaphorical associations of creativity and curiosity subsided.

Six hundred years later souls had been replaced by artefacts valorised because of their contribution to human knowledge or as a testament to exceptional human creativity (Nowotny). Objects of curiosity and originality, as well as their creators, were reified and curation became the specialist practice of an expert custodian charged with the care and preservation of artefacts but relegated to the background to collect, evaluate and archive artefacts entrusted to the care of museums and to be preserved for future generations. Instrumentalist meanings thus dominated.

From the 1960s discourses shifted again from the privileging of a "producer who actually creates the object in its materiality" to an entire set of actors (Bourdieu 261). These shifts were part of the changing political economy of museums, the growing prevalence of exhibitions and the emergence of mega-exhibitions hosted in global cities and capable of attracting massive audiences (see O'Neill). The curator was no longer seen merely as a custodian but able to add cultural value to artefacts when drawing individual items together into a collection, interpreting their relevance to a theme then re-presenting them through a story or visuals (see O'Neill). The verb "to curate", which had first entered the English lexicon in the early 1900s but was used sporadically (Synder), proliferated from the 1960s in museum studies (Farquharson cited in O'Neill) as mega-exhibitions attracted publicity and the higher profile of curators attracted the attention of intellectuals prompting a curatorial turn in museum studies.

The curatorial turn in museum studies from the 1980s marks the emergence of curation as a legitimate object of academic enquiry. O'Neill identified a "Foucauldian moment" in museum studies where shifting discourses signified challenges to, and disruptions of, traditional forms of knowledge-based power. Curation was no longer seen as a neutral activity of preservation, but one located within a contested political economy and invested with contradictions and complexities. Philosophers such as Martinon and Nowotny have highlighted the impossibility of separating the oversight of valuable artefacts from the processes by which these are selected, valorised and signified and what, at times, has been the controversial appropriation of creative outputs. Thus, a new critical approach emerged.

Recently, curating-related discourses have expanded beyond the "rarefied" world of museum studies (Synder). Social media platforms have facilitated the proliferation of user-generated content offering a vast array of new artefacts. Information circulates widely and new discourses can challenge traditional bases of knowledge. Audiences now actively search for new material driven in part by curiosity and a growing distrust of the professions and establishments (see Holmberg). The boundaries between professionals and lay people are blurring and, some argue, knowledge is being democratized (see Ibrahim; Holmberg). However, as new information becomes voluminous, alternative truths, misinformation and false information compete for attention and there is a growing demand for the verification, selection and presentation of artefacts, that is online curation (Picard; Bakker). Thus, the appropriation of social media is disrupting traditional power relations but also offering new opportunities for new information-related practices. Journalism is facing its own Foucauldian moment.

Journalism has been traditionally understood as capturing today's happenings, verifying the facts of an event, then presenting these as a narrative that reporters update as news unfolds. News has been seen as the preserve of professionals trained to interview eyewitnesses or experts, to verify facts and to compile what they found into a compelling narrative (Hallin and Mancini). News-gathering was typically the work of an individual tasked with collecting stand-alone stories then passing them onto editors to evaluate, select, prioritise and collate these into a collection that formed a newspaper or news programme .

This understanding of journalism emerged from the 1830s along with a type of news that was accessible, that large numbers of people wanted to read and that, consequently, attracted advertising making news profitable (Park). The idea that presumed trained journalists were best placed to produce news appeared first in the UK and USA then spread worldwide (Hallin and Mancini). At the same time as there was growing demand for news, space constraints restricted how much could be published and the high costs of production served as a barrier to entry first in print then later in broadcast media (Picard; Curran and Seaton). The large news organisations that employed these professionals were thus able to control the circulation of information and knowledge they generated and the editors that selected content were able, in part, to shape public debates (Picard; Habermas).

Social media challenge the control traditional media have had over the production and dissemination of news since the mid-1800s. Practically every major global news story in 2010 and 2011 from natural disasters to uprisings was broken by ordinary people on social media (Bruns and Highfield). Twitter facilitates a steady stream of updates at an almost real-time speed that 24-hour news channels cannot match. Facebook, Instagram and blogs add commentary, context, visuals and personal stories to breaking news. Experts and official sources routinely post announcements on social media platforms enabling anyone to access much of the same source material that previously was the preserve of reporters. Investigations by bloggers have exposed abuses of power by companies and governments that journalists on traditional media have failed to (Wischnowski). Audiences and advertisers are migrating away from traditional newspapers to a range of different online platforms. News consumers now actively use search engines to find available information of interest and look for efficient ways of sifting through the proliferation of the useful and the dubious, the revelatory and the misleading or inaccurate (see Picard).That is, news organisations and the professional journalists they employ are increasingly operating in a hyper-competitive (see Picard) and hyper-sceptical environment. This paper posits that cumulatively these are disrupting the control news organisations have and journalism is facing a Foucauldian moment when shifting discourses signify a disturbance of the intellectual rules that shape who and what knowledge of news is produced and hence the power relations they sustain.

Social media not only challenge the core news business of reporting, they also present new opportunities. Some traditional organisations have responded by adding new activities to their repertoire of practices. In 2011, the Guardian uploaded its entire database of the expense claims of British MPs onto its Website and invited readers to select, evaluate and comment on entries, a form of crowd-sourced curating. Andy Carvin, while at National Public Radio (NPR) built an international reputation from his curation of breaking news, opinion and commentary on Twitter as Syria became too dangerous for foreign correspondents to enter. New types of press agencies such as Storyful have emerged around a curatorial business model that aggregates information culled from social media and uses journalists to evaluate and repackage them as news stories that are sold onto traditional news media around the world (Guerrini). Research into the growing market for such skills in the Netherlands found more advertisements for "news curators" than for "traditional reporters" (Bakker). At the same time, organic and spontaneous curation can emerge out of Twitter and Facebook communities that is capable of challenging news reporting by traditional media (Lewis and Westlund). Curation has become a common refrain attracting the attention of academics.

The curatorial turn in journalism studies is manifest in the growing academic attention to curation-related discourses and practices. A review of four academic journals in the field, Journalism, Journalism Studies, Journalism Practice,and Digital Journalism found the first mention of journalism and curation emerged in 2010 with references in nearly 40 articles by July 2015. The meta-analysis that follows draws on this corpus.

The consensus is that traditional business models based on mass circulation and advertising are failing partly because of the proliferation of alternative sources of information and the migration of readers in search of it. While some of this alternative content is credible, much is dubious and the sheer volume of information makes it difficult to discern what to believe. It is unsurprising, then, that there is a growing demand for "new types and practices of curation and information vetting" that attest to "the veracity and accuracy of content" particularly of news (Picard 280). However, academics disagree on whether new information practices such as curation are replacing or supplementing traditional newsgathering. Some look for evidence of displacement in the expansion of job advertisements for news curators relative to those for traditional reporters (Bakker). Others look at how new and traditional practices co-exist in organisations like the BBC, Guardian and NPR, sometimes clashing and sometimes collaborating in the co-creation of content (McQuail cited in Fahy and Nisbet; Hermida and Thurman).

The debate has polarised between whether these changes signify the "twilight years of journalism or a new dawn" (Picard). Optimists view the proliferation of alternative sources of information as breaking the control traditional organisations held over news production, exposing their ideological biases and disrupting their traditional knowledge-based power and practices (see Hermida; Siapera, Papadopoulou, and Archontakis; Compton and Benedetti). Others have focused on the loss of "traditional" permanent journalistic jobs (see Schwalbe, Silcock, and Candello; Spaulding) with the implication that traditional forms of professional practice are in demise. Picard rejects this polarisation, counter-arguing that much analysis implicitly conflates journalism as a practice with the news organisations that have traditionally hosted it. Journalists may or may not be located within a traditional media organisation and social media is offering numerous opportunities for them to operate independently and for new types of hybrid practices and organisations such as Storyful to emerge outside of traditional operations. Picard argues that making the most of the opportunities social media presents is revitalising the profession offering a new dawn but that those traditional organisations that fail to adapt to the new media landscape and new practices are in their twilight years and likely to decline. These divergences, he argues, highlight a profession and industry in transition from an old order to a new one (Picard).

This notion of journalism in transition usefully negotiates confusion over what curation in the social media age means for news providers but it does not address the uncertainty as to where it sits in relation to journalism. Futuristic accounts predict that journalists will become "managers of content rather than simply sourcing one story next to another" and that roles will shift from reporting to curation (Montgomery cited in Bakker; see Fahy and Nisbet). Others insist curators are not journalists but "information workers" or "gatecheckers" (McQuail 2013 cited in Bakker; Schwalbe, Silcock, and Candello) thereby differentiating the professional from the manual worker and reinforcing the historic elitism of the professions by implying curation is a lesser practice. However, such demarcation is problematic in that arguably both journalist and news curator can be seen as information workers and the instrumental definition outlined at the beginning of this article is as relevant to curation as it is to news editing. It is therefore necessary to revisit commonly used definitions (see Bakker; Guerrini; Synder).

The literature broadly defines content creation, including news reporting, as the generation of original content that is distinguishable from aggregation and curation, both of which entail working with existing material. News aggregation is the automated use of computer algorithms to find and collect existing content relevant to a specified subject followed by the generation of a list or image gallery (Bakker; Synder). While aggregators may help with the collection component of news curation, the practices differ in their relation to technology. Apart from the upfront human design of the original algorithm, aggregation is wholly machine-driven while modern news curation adds human intervention to the technological processes of aggregation (Bakker). This intervention is conscious rather than automated, active rather than passive. It brings to bear human knowledge, expertise and interpretation to verify and evaluate content, filter and select artefacts based on their perceived quality and relevance for a particular topic or theme then re-present them in an accessible form as a narrative or infographics or both. While it does not involve the generation of original news content in the way news reporting does, curation is more than the collation of information. It can also involve the re-presenting of it in imaginative ways, the re-formulating of existing content in new configurations. In this sense, curation can constitute a form of creativity increasingly common in the social media age, that of re-mixing and re-imagining of existing material to create something novel (Navas and Gallagher). The distinction, therefore, between content creation and content curation lies primarily in the relation to original material and not the assumed presence or otherwise of creativity.

In addition, curation outputs need not stand apart from news reports. They can serve to contextualize news in ways that short reports cannot while the latter provides original content to sit alongside curated materials. Thus the two types of news-related practices can complement rather than compete with each other. While this addresses the relation between reporting and curation, it does not clarify the relation between curating and editing. Bakker eludes to this when he argues curating also involves "editing ... enriching or combining content from different sources" (599). But teasing out the distinctions is tricky because editing encompasses a wide range of sub-specialisations and divergent duties. Broadly speaking, editors are "newsrooms professionals ... with decision-making authority over content and structure" who evaluate, verify and select information so are "quality controllers" in newsrooms (Stepp). This conceptualization overlaps with the instrumentalist definition of curation and while the broad type of skills and tasks involved are similar, the two are not synonymous. Editors tends to be relatively experienced professionals who have worked up the newsroom ranks whereas news curators are often new entrants ultimately answerable to editors. Furthermore, curation in the social media age involves voluminous material that curators sift through as part of first level content collection and it involves ever more complex verification processes as digital technologies make it increasingly easy to alter and falsify information and images. The quality control role of curators may also involve in-house specialists or junior staff working with external experts in a particular region or specialisation (Fahy and Nisbett). Some of job advertisements suggest a growing demand for specialist curatorial skills and position these alongside other newsroom professionals (Bakker). Whether this means they are journalists is still open to question.

This article has presented a more expansive conceptualisation of news curation than is commonly used in journalism studies, by including both the instrumental and the symbolic dimensions of a proliferating practice. It also sought to avoid confining this wider conceptualisation within unhelpful polarisations as to whether news curation is symbolic of a wider demise or revival of journalism by distinguishing the profession from the organisation in which it operates. The article was then free to negotiate the conceptual ambiguity surrounding the often taken-for-granted instrumental meanings of curation. It argues that what distinguishes news curation from traditional newsgathering is the relationship to original content. While the reporter generates the journalistic equivalent of original content in the form of news, the imaginative curator re-mixes and re-presents existing content in potentially novel ways. This has faint echoes of the mythological cura creating something new from the existing clay. The other conceptual ambiguity negotiated was in the definitional overlaps between curating and editing. On the one hand, this questions the appropriateness of reducing the news curator to the status of an "information worker", a manual labourer rather than a professional. On the other hand, it positions news curators as one of many types of newsroom professionals. What distinguishes them from others is their status in the newsroom, the volume, nature and verification of the material they work with and the re-mixing of different components to create something novel and useful.

References

Bakker, Piet. "Mr. Gates Returns: Curation, Community Management and Other New Roles for Journalists." Journalism Studies 15.5 (2014): 596-606.

Bourdieu, Pierre. The Field of Cultural Production. New York: Columbia UP, 1993.

Bruns, Axel, and Tim Highfield. "Blogs, Twitter, and Breaking News: The Produsage of Citizen Journalism." Produsing Theory in a Digital World: The Intersection of Audiences and Production in Contemporary Theory. New York: Peter Lang. 15-32.

Compton, James R., and Paul Benedetti. "Labour, New Media and the Institutional Restructuring of Journalism." Journalism Studies 11.4 (2010): 487-499.

Curran, J., and J. Seaton. "The Liberal Theory of Press Freedom." Power without Responsibility. London: Routledge, 2003.

Fahy, Declan, and Matthew C. Nisbet. "The Science Journalist Online: Shifting Roles and Emerging Practices." Journalism 12.7 (2011): 778-793.

Guerrini, Federico. "Newsroom Curators & Independent Storytellers : Content Curation As a New Form of Journalism." Reuters Institute Fellowship Paper (2013): 1-62.

Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Massachussetts, CA: MIT P, 1991.

Hallin, Daniel, and Paolo Mancini. Comparing Media Systems beyond the Western World. Cambridge: Cambridge U P (2012).

---. Comparing Media Systems: Three Models of Media and Politics. Cambridge: Cambridge UP, 2004.

Harb, Zahera. "Photojournalism and Citizen Journalism." Journalism Practice (2012): 37-41.

Hermida, Alfred. "Tweets and Truth." Journalism Practice 6.5-6 (2012): 659-668.

Hermida, Alfred, and Neil Thurman. "A Clash of Cultures: The Integration of User-Generated Content within Professional Journalistic Frameworks at British Newspaper Websites." Journalism Practice 2.3 (2008): 343-356.

Holmberg, Christopher. "Politicization of the Low-Carb High-Fat Diet in Sweden, Promoted on Social Media by Non-Conventional Experts." International Journal of E-Politics (2015).

Ibrahim, Yasmin. "The Discourses of Empowerment and Web 2.0." Handbook of Research on Web 2.0, 3.0, and X.0: Technologies, Business, and Social Applications. Ed. San Murugesan. Hershey, PA, IGI Global, 2010. 828-845.

Lewis, Seth C., and Oscar Westlund. "Actors, Actants, Audiences, and Activities in Cross-Media News Work." Digital Journalism (July 2014 ): 1-19.

Martinon, Jean-Paul. The Curatorial: A Philosophy of Curating. Ed. Jean-Paul Martinon. London: Bloomsbury P, 2013.

Navas, Eduardo, and Owen Gallagher, eds. Routledge Companion to Remix Studies. London and New York: Routledge, 2014.

Nowotny, Stefan. "The Curator Crosses the River: A Fabulation." The Curatorial: A Philosophy of Curating. Ed. Jean-Paul Martinon. London: Bloomsbury Academic, 2013.

O'Neill, Paul. The Curatorial Turn: From Practice to Discourse. Bristol: Intellect, 2007.

Park, Robert E. "Reflections on Communication and Culture." American Journal of Sociology 44.2 (1938): 187-205.

Peters, Chris, and Marcel Broersma. Rethinking Journalism: Trust and Participation in a Transformed News Landscape. London: Routledge, 2013.

Phillips, E. Barbara, and Michael Schudson. "Discovering the News: A Social History of American Newspapers." Contemporary Sociology 1980: 812.

Picard, Robert G. "Twilight or New Dawn of Journalism?" Digital Journalism (May 2014): 1-11.

Reich, Warren. "Classic Article: History of the Notion of Care." Encyclopedia of BioEthics. Ed. Warren Reich. Revised ed. New York: Simon and Schuster, 1995: 319-331.

Rugg, Judith, and Michèle Sedgwick, eds. Issues in Curating Contemporary Art and Performance. Bristol: Intellect, 2007.

Schudson, Michael. "Would Journalism Please Hold Still!" Re-Thinking Journalism. Eds. Chris Peters and Marcel Broersma. Abingdon: Routledge, 2013.

Schwalbe, Carol B., B. William Silcock, and Elizabeth Candello. "Gatecheckers at the Visual News Stream." Journalism Practice 9.4 (2015): 465-83.

Siapera, Eugenia, Lambrini Papadopoulou, and Fragiskos Archontakis. "Post-Crisis Journalism." Journalism Studies 16.3 (2014): 449-465.

Spaulding, S. "The Poetics of Goodbye: Change and Nostalgia in Goodbye Narratives Penned by Ex-Baltimore Sun Employees." Journalism (2014): 1-14.

Stepp, Carl Sessions. Editing for Today's Newsroom: New Perspectives for a Changing Profession. Abingdon: Lawrence Erlbaum, 2013.

Synder, Ilana. "Discourses of 'Curation' in Digital Times." Discourse and Digital Practices: Doing Discourse Analysis in the Digital Age. Eds. Rodney H. Harris, Alice Chik, and Christoph Hafner. Oxford: Routledge, 2015. 209-225.

Thurman, Neil, and Nic Newman. "The Future of Breaking News Online?" Journalism Studies 15.5 (2014): 655-67.

Wischnowski, Benjamin J. "Bloggers with Shields: Reconciling the Blogosphere's Intrinsic Editorial Process with Traditional Concepts of Media Accountability." Iowa Law Review 97.327 (2011).

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Exploring a Curatorial Turn in Journalism | M/C Journal

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Curation-related discourses have become widespread. The growing public profile of curators, the emergence of new curation-related discourses and their proliferation beyond the confines of museums, particularly on social media, have led some to conclude that we now live in an age of curation (Buskirk cited in Synder).

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Mary Kalantzis and Bill Cope on Assessment

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Mary Kalantzis and Bill Cope on Assessment

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questioning assessment

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18.11.2021 - webinar with wonderful Dr Walter Gershon, Dr William Kist and Dr Raúl Mora on what creativity, being creative and being creative in the class mean.
(draft form to start the conversation)

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Literacies in Second Languages Project (LSLP)

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On Creativity: A conversation (feat. Drs. Raúl Alberto Mora, Walter Gershon, and William Kist)