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Such framing devalues intrinsic qualities of creative knowledge.
However, given the dominance of economically-minded valuation mechanisms, producers of creative knowledge must be aware of the pressures that such terms as the "creative industries" imply.
This unique program encourages students to construct a highly individualized course of study within an interdisciplinary framework, in order to foster a thorough and creative knowledge of both traditions and their intersections.
He is correct that the forms of power developed to impose this project in universities through the de-democratisation, bureaucratisation and audit of cultural work have crippled education and creative knowledge production, particularly in the humanities and critical social sciences – albeit incredibly unequally across the university sector.
Mode 3 universities (higher education institutions) have the opportunity of offering and developing "creative knowledge environments" (on creative knowledge environments, see Hemlin et al. 2004).
It should foster "creative knowledge environments" (CKE: see Hemlin et al. 2004) .
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The urban theorist Richard Florida links great food to "the open and tolerant values that go with a creative, knowledge-based economy".
Several factors lie behind the shifting attitudes: China's increased exposure to the West; concerns about how children will manage in a creative, knowledge-based economy; and studies indicating increasing mental health problems among children.
While some uses of technologies engage the learner in a passive or interactive situation where there is little room for knowledge creation, other uses engage the learner in a creative knowledge-building process in which the technology aims at enhancing the co-creative learning process (Romero, Laferrière & Power, 2016).
Therefore I am departing from the concepts of Connectivism (George Siemens) and "Critical Mediation of Art" (Carmen Mörsch) and will discuss examples of the use of digital media for cultural learning and co-creative knowledge generation, in order to meet the challenges, which participatory culture presents for cultural institutions.
Her research interests are design creativity, design knowledge, and creative cognition.
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