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Purpose – In January 2015, a diverse group of stakeholders engaged in a planning forum on “Envisioning our Information Future and How to Educate for It.” Focused on shaping a future by design, not by default, information educators, professionals, technologists, futurists, and others proposed proofs of concepts for larger-scale implementations. This chapter reports on four pilot projects using steps in the design-thinking process to frame the discussion.

Design/Methodology/Approach – The stages of (1) empathize, (2) define, (3) ideate, (4) prototype, and (5) test in the design-thinking process facilitate moving beyond what is and breaking fixedness to build a representation of what might be. Applied to library and information science (LIS) education, design thinking can lead to transformative change.

Findings – Creative collaborations yielded actionable outcomes from projects that identified the following: (1) the knowledge, skills, and abilities that employers seek in graduates of LIS programs, (2) curriculum options for developing and launching artist-in-residence programs, (3) how a Library Test Kitchen course enables students to apply design thinking, and (4) how a short-term faculty residency in a particular institution connects LIS educators with trends in the field and informs curriculum design.

Originality/Value – The value of tangible outcomes from pilot projects informing future innovation in LIS education is augmented by the originality of their framing within design-thinking processes.

In today’s hypercompetitive, digital-first, knowledge-based economy, organizational creativity has never been more important as a potential source of competitive advantage. The foundation stone for every innovation is an idea and all ideas are born of creativity. The innovation process thus starts with creativity and the new ideas it yields are ideally based on insights that will lead ultimately to novel outcomes (such as new products, services, experiences or business models) and thereby to a sustainable competitive advantage. In established businesses, until relatively recently, creativity was called on only for specific, often high-profile occasions, for ‘hackathons’ or for major ‘innovation jams’, but today it is an essential, everyday necessity of routine work. However, attaining the right level of creativity from within is a challenge for many organizations and so they need to establish an appropriate and effective way to import it into their teams, projects and, ultimately, culture. The arts are a pure, unadulterated form of creativity. Mindsets, processes and practices from the arts can give organizational creativity a significant boost and can potentially offset the creative deficit in an organization. Here, the illustrative cases and practices that demonstrate how the arts can have a positive impact on business are examined.

The aim of the study is to contribute to the extending body of literature on ‘the different effects of cultural engagement’ through cases from Turkey. In the context of art and society interaction, the study seeks to find evidence from practice within the scope of the ‘cultural value’ and ‘arts marketing’ literature. ‘Co-creation’ is mentioned as an important term in the cultural engagement context, and purposeful co-creation acts are investigated in the art industry. Therefore, the research focuses on interaction in the context of culture in order to explore the complex nature of co-creation of cultural value in alternative places and cultural frames. From this perspective, the study underlines the roles of place and atmosphere in the cultural engagement process. The cultural engagement areas of art and the public are determined in three different fields: nature (art in the village), science (campus) and business (shopping mall). The case study research is realised in order to gain a detailed and holistic view of the process. While the intention of all art events is the interaction of art and society, all three cases lead to different dimensions of ‘cultural engagement’ in different contexts. In this manner, these different cultural frames enlarge our comprehensive view of the constitution of ‘art and cultural value’ in terms of place and cultural frame of the field. The study underlines that society-oriented local art events and organisations are supporting the art and society link rather than focussing the economic value of art and artists as the actors of a commercial art industry.

In this chapter, we develop a conceptual framework on how cultural value can be lost in conflict and created by the arts, artists and arts organisations again and how the arts may also help victims of conflict. We explore examples of the different ways that the effects of cultural engagement are manifested and articulated in the depiction of armed conflict, especially looking at the civil war in Syria (2011–present as of 2020) and discuss three stages in the life-cycle of cultural value. Our conceptual framework of cultural value in the depiction of armed conflict is based on the multifaceted private, public, intrinsic and instrumental benefits of the arts as well as the cultural value created by arts, artists and arts organisations. We discuss universal value at the first stage of a potential loss of cultural value. The second stage addresses the politics of aesthetic value, as the cultural value created by artists and artistic activities which may evolve during armed conflict with examples of two international war artists, John Keane and Ben Quilty. Finally, we review social value as the impact of the cultural value created in overcoming armed conflict as well as restoring and transforming impaired individuals, communities and societies. Within this context, we reinforce the notion of cultural value as an alternative framework for understanding the value constructs surrounding the creation of art in this chapter.

When researching the role of microentrepreneurship in equitable and sustainable development, the question of how tourism microentrepreneurs forge relationships between place, community, and resources is significant. Two case studies from CREATOUR, a project investigating creative tourism, a novel type of cultural tourism that includes active participation in creative activities and connection to place, examines how these relationships are developed and implemented. Findings indicate that creative tourism microentrepreneurial activities in two small cities are being shaped by, and shaping, place in multifaceted ways. Creative tourism activities stimulate new perspectives on place, are designed synergistically with the “seasonal” fluctuations of the type of visitors, are embedded in personal networks of collaborators, and actively encourage alternative patterns of tourism consumption.

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.