Mapping innovative learning experiences in the UK

Mapping innovative learning experiences in the UK Pat Gannon-Leary University of Edinburgh Stephen Farrier University of Edinburgh

Summary CREANOVA is an EU-funded project that aims to undertake research on specific conditions and factors which are present in creative learning environments and promote innovation. While innovation is a defined imperative for European learning policy, there is a lack of evidence on what constitutes meaningful innovation and how it can be fostered and applied in learning. It is anticipated that the research outcomes from CREANOVA will inform innovative competence acquisition and development in formal and informal learning contexts, such as vocational education and training (VET), adult education and work-based learning (WBL).

This paper maps the ways in which 18 UK entities demonstrate and reflect innovative learning.

However, in anticipation of further research, special attention is paid to addressing the challenges of blending the learning environment. The blending of hybrid pedagogical imperatives and methodologies, within physical and virtual learning environments, has increased access and flexibility for the learner and for the delivery of innovative learning spaces. However, there are many challenges related to developing a coherent framework for facilitating an effective blended learning environment. There is a need to develop an understanding of what blended learning is, in relation to both how and why people learn. It is also necessary to ask what we, the educational provider, can learn from the people who populate these ‗programmes‘ of learning. This article, and the research that accompanies it, is attempting to reconcile the relationships resident within the duality of experiences for both student/trainee and educator/trainer and to bridge the divide by considering current pedagogical theory within the reality of work-based educational practice and learning development.

Keywords: informal learning; vocational education and training (VET); work-based learning (WBL); blended learning; creative learning environments

Introduction CREANOVA is an EU-funded project that aims to undertake research on the specific conditions and factors that are present in creative learning environments and to improve innovation. Whilst innovation is a defined imperative for European lifelong learning policy there is currently a lack of evidence as to what constitutes meaningful innovation and how it might be fostered and applied in learning. eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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It is anticipated that the research outcomes from CREANOVA will inform innovative competence acquisition and development in formal and informal learning contexts, such as vocational education and training (VET), adult education and work-based learning (WBL).

CREANOVA focuses on sectors and industries that are critical in the promotion of entrepreneurship and of innovative ideas1. Such sectors are fields of common academic and applied interest for the partners that are engaged in the CREANOVA project – partners from the Basque Countries, Estonia, Finland, Italy and the UK.

Identification of best practice in the UK Moray House School of Education, the University of Edinburgh is the UK partner for CREANOVA and, in the early stages of the project, the team began exploring the literature and the Internet for examples of good innovative practice in the United Kingdom. To facilitate this process the team employed a systematic searching technique and downloaded information found to an EndNote library, using this bibliographic software not only to record citations but also to record details of organisations which might be considered exemplars of innovative learning environments. The literature explored suggested criteria by which the organisations might be judged to be innovative and these criteria were applied in order to narrow down the best practice exemplars.

The resultant best practice exemplars were 18 UK based organisations: 

Arts Council England

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Edinburgh International Festival (EIF)

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Find Your Talent Programme

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Joint Information Systems Committee (JISC)

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National Enterprise Academy

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National School of Government

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Open University (OU)

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Prince‘s Trust

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Scottish Social Services Council (SSSC)

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Sorrell Foundation Young Design Programme

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Stephen Lawrence Centre

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Train to Gain Service

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In March 2008 a European Commission (2008) communication stressed that “Europe needs to boost its capacity for creativity and innovation for both social and economic reasons” and 2009 was nominated as European Year of Creativity and Innovation of which Luc Van den Brande, President of the Committee of the Regions commented that: “It is in Europe's vibrant regions and cities where you will find creative and innovative talents flourishing...the chance...to showcase innovative European projects”. European nations are facing the challenge of a global financial crisis and the consequent economic downturn which as the Brussels update (2009) comments stresses the need for greater and more efficient investment in human capital and the particular role of education in what it terms the ‗knowledge triangle‘ of education, research & development (R&D) and innovation, as a means of aiding economic recovery. eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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University of the Arts, London (UAL)

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Tyneside Cinema, Newcastle upon Tyne

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University of the Third Age (U3A)

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Urban Learning Space, Glasgow (ULS)

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Whitehall Innovation Hub

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Workers‘ Educational Association (WEA)

Innovation The concept of innovation was originally used to refer to the development – and practical application – of new ideas in the industrial world in order to boost competitiveness. In recent years, the development of new technologies has impacted upon the production, use and distribution of knowledge and the understanding of the processes and practices in teaching and learning that promote innovation. This understanding is intrinsically linked to producing social value and contributing to economic and human needs.

In Creative Capital (2005) the belief is expressed that creativity and innovation are driving forces of our economy and society. In this globalised world our future is visualised in our capacity to create. Speakers at the INNO-Views workshop (2007) placed emphasis on strong links between innovation and the cultural environment and also elaborated on the relations between cultural and regional development, entrepreneurship and citizens as drivers for innovation.

Consequently in the globalized learning economy companies, regions and communities need innovation and learning to establish sustainable growth. International, national and regional instruments and strategies can complement and support each other in fostering innovation.

Therefore one of the criteria examined in relation to best practice was the recognition of the international/national/regional dimension.

International/national/regional dimensions Best practice examples say that they are building on international best practice/ relevant international practice (Find Your Talent, Whitehall Innovation Hub); conducting international research projects ; engaging in international collaborations (JISC); they claim international renown/leadership role (UAL,); they are performing to the highest possible international standards (EIF). Participants in best practice examples are competing in international challenges (Stephen Lawrence Foundation); have the opportunity to gain international experience; experience international culture (EIF); and benefit from knowledge of international practitioners (Sorrell Foundation).

Two of the best practice examples actually have the word ‗national‘ in their titles (National Enterprise Academy; National School of Government). Others build on national best practice (Find Your Talent); are engaged in national collaborations (JISC); influence national policies (Train to Gain; U3A); offer national support systems (U3A, WEA); and offer nationally recognised qualifications or follow the national curriculum (Train to Gain; Find Your Talent).

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At a more local or regional level, best practice examples exhibit engagement with local government departments/agencies (U3A); involvement with local strategies (Find Your Talent); offer programmes tailored to local government concerns (Cultural Leadership Programme); provide models capable of being replicated across local authorities (Sorrell Foundation); and follow local best practice (Find Your Talent). Best practice examples also demonstrate engagement with local businesses/employers/schools (Train to Gain, Tyneside Cinema); create and deliver courses/interest groups in response to local needs (Tyneside Cinema; U3A; WEA) ; enter into partnership with local community groups/organisations ( Tyneside Cinema, WEA); use local volunteers (Tyneside Cinema, U3A); give insight into, and exploring, local culture (EIF; Tyneside Cinema); and overall aim to render the region more creative/entrepreneurial.

Community based learning: culture and heritage The link between innovation and learning communities and the articulation of best practice is critical. Lifelong learning is at its most effective when applied in community contexts. Local communities must be actively involved and committed (CREANOVA 2010). In order for this to happen society as a whole must value learning; support those who continue to learn; and ensure that learning is part of their country‘s culture and heritage. Therefore these criteria these were explored in relation to the best practice exemplars.

Best practice exemplars provide evidence of community collaboration, e.g. methods supporting creativity developed by community collaboration (Find Your Talent); sharing community contacts, including creative businesses, strengthens UAL‗s widening participation networks in London neighbourhoods; exemplification of a youth and community driven creative media application with delivery of projects with a variety of regional partners including documentary in the community (Tyneside Cinema).

Film-making in the community is also exemplified by Urban Learning Space, whose projects focus on public learning spaces, creativity and multimedia at community level, e.g. involving peopleof Pollok in film making and calling upon their community expertise.

The WEA vision is to be a leading provider of community learning in the UK, creating and delivering courses in response to local needs, often in partnership with local community groups.

Community learning centres also benefit from having a 'Train to Gain' broker assessing their training needs.

Both the Sorrell Foundation joinedupdesignforschools [sic] and the Stephen Lawrence Charitable Trust exemplify how working on the environment can integrate and enhance communities, since community members are involved in design and development The Prince‘s Trust has developed methods supporting creativity and provided funding and support for young people (last year 2,300) to set up community projects. Another source of funding is the JISC Business & Community Engagement Programme which aims to help UK by supporting their strategic management of relationships with commercial, public sector (including charities and trusts), cultural, social and civic organisations, in order to deliver services which benefit the economy and society.

Best practice examples acknowledge the role that culture can play in improving social, economic and environmental wellbeing for communities (EIF, Find Your Talent); devote 5 hours of culture per week for children (Find Your Talent); reflect international culture to audiences eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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from Scotland and beyond and offer an international showcase for Scottish culture (EIF). They involve the UK Government‘s Department for Culture Media & Sport (Cultural Leadership Programme; Find Your Talent; Sorrell Foundation; Tyneside Cinema, UAL).

Culture and heritage are stressed by best practice examples by organisation of visits to heritage sites (Find Your Talent); work within local councils, e.g. North and South Tyneside which have cultural and natural assets with a rich heritage (Find Your Talent); work with young people from ethnic minorities for whom slavery was part of their personal heritage (UAL; Cultural Leadership Programme symposium and associated publication Heritage, Legacy and Leadership on African and Asian heritage).

Benefits of the culture and heritage emphasis are described by Roy Clare: “In a time of economic uncertainty, people and communities can derive strength, purpose and reassurance from experiences involving culture, the arts, learning and the celebration of heritage and identity. But in a modern age we simply must apply these ideas to all people – people of all backgrounds, ages, ethnicities, genders, orientations and means.

Creativity and imagination can help us to see ways to remove barriers to understanding; to deploy the widest possible array of media; to see that the legacy of heritage can be understood and appreciated...” (Institute of Race Relations, 2008: 3) Innovation requires cooperation between government, universities, third sector organisations, entrepreneurs, businesses and consumers, all of whom spread knowledge and the strength of such relationships impacts upon performance (Bakhshi et al 2008). Many researchers (Wolpert 2002; Leifer et al. 2000) argue that successful innovation requires ‗knowledge brokering‘ across organisations through partnerships and networks, including an ability to harvest ideas and expertise from a wide array of sources. One way to accomplish this is through more formal partnerships which facilitate ways for organisations to share their skills, resources and knowledge (Callan & Ashworth 2004; Tsai & Goshal 1998).

If all partners are interested and involved, the partnership will be strong enough to weather cutbacks or changed priorities and able to maintain innovative projects. Participation of members of an organization in less formal networks can also facilitate the spread of information about innovations, which may positively influence the probability of adoption. Such informal networks may either connect organizations within one industry or organizations in different industries. (Frambach & Schillewaertb 2002) Therefore, another criterion in identification of best practice exemplars involved evidence of opportunities for collaboration.

Collaborations and partnerships Collaborations and partnerships are exemplified by the U3As collaboration with institutions such as museums, galleries, libraries, in learning partnerships in which both U3As and the institutions themselves may benefit through research, advancement of knowledge and mutual respect for capabilities. (principles 6, 13 & 14 as defined by founding father of U3A Peter Laslett). Also exemplifying collaboration is Tyneside Cinema‘s partnership with Tyne & Wear Museums, which involved the introduction of young people to experts, archive footage and locations across the region to inspire and inform their film-making.

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Exhibitions emanating from best practice exemplars include UAL‘s partnership with working Tate Britain and the V&A and the resultant ‗Enslaved‘ fashion show on the theme of liberty and revolution, the culmination of a four week research phase at Tate Britain with leading curators from Tate Britain and the V&A. Another exemplar is the Sorrell Foundation‘s joinedupdesignforschools exhibition which coincided with a series of V&A Innovation Unit sponsored workshops which gave pupils the opportunity to visit the exhibition and explore their ideas further with a designer to develop a design brief “The joinedupdesignforschools workshops at the V&A ...the pupils took part in two workshops (the first preparatory, the second creative) in which they generated a visual brief...The visual briefs prepared by the pupils were mounted in the V&A exhibition at the end of each workshop.

The workshops also provided the pupils with an inspirational day out at the V&A, and allowed them to contribute directly to the exhibition.”

(Sorrell Foundation, 2005: 8) A different take on the connection of a best practice exemplar to an exhibition is the WEA exhibition of William Feaver‘s private collection of Ashington Group paintings from 13 September to 16 October at the Live Theatre, Newcastle upon Tyne. This is a particularly interesting slant since the Ashington Group painters actually began as a WEA art class.

Public sector innovation “Innovation is the life-blood of progress. It requires more than mere creativity. In today's public service it is about collaboration, engagement with colleagues, stakeholders and citizens.”

(Whitehall Innovation Hub website).

The Whitehall Innovation Hub has been created to capture and disseminate learning about public sector innovation. The Hub works with the National School of Government Sunningdale Institute Fellows to support those building a new landscape for government across the public service system and they work together to build capacity to develop and deliver imaginative and integrated approaches to public service leadership and systems innovation.

The National School has extensive contacts with private and public sector organisations and experience in organisations renowned, for example, for creativity, exemplary people management and commercial excellence Leading Edge and Senior Manager Workshops form an integral part of the Senior Civil Service (SCS) and leadership training is provided by the National School of Government, whilst the Cultural Leadership programme includes Leading Learning, an innovative cultural leadership programme tailored to local government concerns.

Train to Gain Business Talent programme encourages FE training and skills providers to recruit talented leaders from the public and private sector to senior management positions within FEl. Nationally, UK government departments (Department for Culture Media & Sport (DCMS) Department for Business, Enterprise and Regulatory Reform (BERR) and the Department for Innovation, Universities and Skills (DIUS)) to come up with a strategy and action plan to support the creative industries (Find Your Talent). Local example for Find Your Talent - the Customs House Art Centre Trust is the lead partner of this initiative, and the partnership is backed by North and South Tyneside‘s Local Strategic Partnership.

The National School of Government offers bespoke design in a leadership collaborative environment ... It‘s Action Learning Sets enable peers from different organisations and walks of eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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life to come together to share experiences, learn and develop in a safe environment ...Sets are available to enhance leadership effectiveness and organisational networking for senior civil servants following corporate induction or as part of their on-going collaborative development.

JISC develops partnerships to enable the UK higher and further education and research communities to engage in national and global collaborations to overcome the challenges of delivering world-class ICT solutions and services. UAL supports collaboration between schools, further and higher education through Newnham Creative Hub to provide end-to-end development of creative skills for people aged from 14 through to 25. 'Creative Partnerships' the Government's flagship creative education project run by the Arts Council England has placed creative practitioners in >1000 schools in 36 areas of social/economic deprivation to work with groups of pupils and teachers (Find Your Talent).

Urban Learning Space is positioned to work alongside a diverse range of partners, collaborating to address some of the issues facing 21st century society. Diverse partners come together through EIF‘s collaboration with other arts and festival organisations worldwide.

Mention was made above about U3As collaboration with institutions such as museums, galleries, libraries, in learning partnerships. U3As also engage in collaboration with institutions undertaking research into ageing and the position of older people in society.

Innovations occur at a faster rate when technical feasibility is allied with cultural acceptance (Hargrave and Van de Ven, 2006). Within the cultural parameters of trust, openness and freedom arising from successful collaborations and partnerships, Castells (2001) perceives a type of virtuous circle between the diffusion of technological knowledge and its perfection. The development of new technologies and multimedia has resulted in a massive reduction in the amount of time between learning by using and producing by using (CREANOVA 2010). The processes of learning by doing and learning by using (CEDEFOP 2008) lead to the production and creation of new knowledge and hence to its practical and innovatory application.

Commercial opportunities on the Internet and the falling costs of computer and communications hardware have created a fertile environment for innovations that are creating new value and new efficiencies for organizations of all sizes (Clarke 2001). The Internet is both an effect and a cause of the new economy. It is, in part, a product of the powerful technological and economic changes that are shaping a new epoch of economic experience. New media affect the availability and accessibility of information on an international scale in important ways, which has implications for international adoption processes (Frambach & Schillewaertb 2002).

Individuals are shaped by the cultures and values of their communities and Himanen (2001) discusses cyber communitarianism that balances individual rights and interests with those of the community as a whole. The structure of the information society is a web and, according to needs and opportunities, contemporary organisations may overcome the interstices and cooperate with their competitors.

Two features identified by Himanen are firstly the desire to realise oneself and one's ability, often in teams that are formed spontaneously and secondly the desire to share one's skills with a community having common goals. Innovation requires social environments that not only stretch individuals by giving them the opportunity to act autonomously but also afford them the opportunity for collaboration and partnerships with stimulating groups and networks. In order for such collaborations to work effectively, systems have to involve tolerance, flexibility, openness and diversity (Sternberg 2003/2007; Cropley & Cropley 2009).Therefore another criterion

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identified in the examination of best practice exemplars was the use – and development – of new technologies, multimedia and blended learning.

New technologies, multimedia and blended learning The OU, conceived in the 1960s and beginning its first courses in 1971, has always been at the vanguard of higher education use of multimedia. ULS supports project s focussing on creativity and multimedia at community level. Project work largely uses new media, e.g. filmmaking or music production, as a tool for engagement which frequently combined with more traditional elements such as scriptwriting or storytelling. Tyneside Cinema has similar offerings such as screenwriting, film & digital media courses for adults and study days for students and teachers of Film and Media Studies. UAL supports teachers‘ CPD in developing new skills and knowledge to deliver awards such as the Creative and Media Diploma and ―nurturing innovation and creativity ―Sorrell Foundation Young Design Programme draws students from different disciplines, including visual communications, photo The overall mission of the JISC Film and Sound Think Tank group is to advise the JISC on all issues relating to the creation, discovery, use, delivery and preservation of film and sound resources. Several best practice organisations exemplify use of communications technology as creative tools and vehicles for learning and communication (UAL – and its partner London College of Communication, JISC, Open University) JISC inspires UK colleges and universities in the innovative use of digital technologies and their e-learning programme enables the development and effective use of digital technologies to support learning and teaching and benefit staff. JISC Learning & Teaching innovation grants support one year projects and activities that fit with the vision, outcomes and principles of the JISC e-Learning programme and support innovative approaches. JISC provides access to electronic resources to inspire higher education institutions (HEIs) in the innovative use of digital technologies.

The Enriching Digital Resources strand of JISC‘s Digitisation Programme is aimed at developing the range and quality of digital resources available. Other strands of the same programme include digitisation, digital libraries, digital repositories and digital preservation and curation. The Open Educational Resources programme is funded by the Higher Education Funding Council for England (HEFCE) and led jointly by the JISC and the Higher Education Academy (HEA) and is examining the effectiveness of differing models of open educational resources.

Urban Learning Space designs and builds in-house digital tools which they use along with innovative research methods such as cultural probes. ULS‘s Fife Council Digital Intervention Project involves partnership with the Council to investigate the development of digital tools for young people, creating awareness of anti stigma health messages. ULS‘s application of digital creativity in the development of StoryBox, on online tool for the creation and sharing of stories focused around Community Expertise. UAL promotes sharing by schools, colleges and universities of specialist course content and e-learning materials. Other forms of sharing include communities of practice exemplified by the National School of Government and the SSSC. The Virtual School is the National School of Government's portfolio of e-learning programmes and online communities of practice. It is SSSC‘s intention that, through the electronic world, a eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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community of practice be created for participants to .share their knowledge, skills and experience, supporting and challenging each other to develop practice to enhance the experiences of children and families.

The learning organization and work-based learning Innovation flourishes when there is a strong knowledge base (mainly a nation‘s higher education (HE) and R&D infrastructure) combined with a culture of tolerance and openness that embraces novelty and a diversity of ideas. (Boschma & Fritsch 2007; Bakhshi et al 2008) Innovation also requires a sound education system that supplies skilled workers and managers capable of realising the potential of innovative ideas and capitalising on their practical value.

(Bakhshi et al 2008). Markkula et al (2009) describe the pivotal and dynamic role of learning in the metamorphosis of current post-industrial societies and economies into true knowledge economies and innovation societies, recognising the challenges of developing complex interfaces and joint learning environments between the HE and R&D infrastructure and the work place.

Rhodes et al. (2008) examine the relationships of organizational learning, social capital and the effectiveness of knowledge transfer and perceived organisational performance, identifying the integration of an organization‘s learning capability with social capital networks in order to create an holistic knowledge sharing and management enterprise framework as a significant strategy to achieve organizational success. Callan (2004) too identifies highly innovative organisations as crating learning cultures as a core organisational capability.

As discussed at the outset, Europe‘s future prosperity is increasingly being linked with aspirations towards the creation of a knowledge-based economy which rests on the production, distribution and use of knowledge and innovative ideas (Clarke 2001). Johnston and Hawke (2001) in their research relating to Australian innovators reveal that the cultures of these organisations show a strong commitment to learning demonstrated by a range of strategies to promote learning and the establishment of WBL programmes, often in partnership .

WBL programmes adopting a participative and discursive innovation strategy, where innovation activities are understood as a joint and open learning process of all relevant employee groups involved (Ramstad 2009) are differentiated from a linear strategy where knowledge is, e.g., transferred from R&D units to workplaces. It is suggested that in a collaboration where the parties involved possess information and skills that supplement /complement each and several learning processes and methods supporting diverse types of learning, add value for organizations.

The greatest variety of innovative technological learning solutions amongst MHSE identified best practice exemplar sites is claimed by SSSC whose solutions include technology-mediated learning, non student learning contact, blended learning, problem-based learning (PBL), recognition of prior informal learning (RPL) and accreditation of prior experiential learning (APEL), work-based learning (WBL), mobile learning, short message service (sms) , social learning , abstracted learning, immersive learning, distance delivered learning, virtual learning environments (VLEs), collaborative learning spaces, multi user interfaces, etc.

In addition, the SSSC is in the public sector, one which Maddock (2008) has identified as being in need or more innovative approaches to address the challenge of ever changing social problems. For these reason, MHSE decided to use SSSC as its case study organisation in eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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which to engage in further, in-depth research. This research will ‗drill down‘ so that the team has moved from a general analysis of innovation, through desk-based research, and the identification of innovative organisations to a specific in-depth analysis of one case study organisation that exemplifies best practice.

The case study work is now underway. Phase one has involved the circulation of an online survey produced using the SurveyMonkey software. The survey has been translated into Basque, Estonian, Finnish, Italian and Spanish so that partners in other countries are collecting similar data from their own best practice case study sites. This should enable useful comparisons across exemplars in several European countries. While the authors await the collation of survey data they have given consideration to the challenges of blending the learning environment.

Blending the learning environment (thinking differently about learning) When considering the context of learning by abstraction, mediated by technology and how this is blended into the nature of workplace learning it is important to contextualise and focus the learning capability by environment, collaboration and learning community. By its very nature blended learning is an ambiguous term when considered in educational and pedagogical terms.

In extreme views blended learning and the blended experience can be considered any form of learning that incorporates blended learning as teaching methodology, and the learning capacity of the learner is enhanced or developed by integrative technology - in the CREANOVA context within the workplace.

Blended Learning allows for innovation and experimentation through creative use of curriculum design and learner expectation, However this creative and evolving approach is difficult to measure and complex to justify due to the developing nature of the learner involvement and can contradict formal validation and measurement processes used by higher education institutions (HEIs) to quality assure and validate the ―academicness‖ of similar traditional learning programmes necessitating that we be innovative in our approaches to measurement in the CREANOVA project.

The terms blended curriculum and blended learning have become relatively common additions to the educator‘s methodology and as such have gained considerable currency when considering particular forms of teaching combined with technology (Oliver & Conole 2002).

However the term‘s aforementioned ambiguity leads to speculation when considering its application. Is it a basis for consideration in economic terms or is it intrinsic to an evolving curriculum and its design, or is it an investment within the student /trainee experience therefore creating greater independence for the learner? Whitelock & Jeffs (2003) posited three definitions.

1. The integrated combination of traditional learning with web based online approaches.

2. The combination of media and tools employed in an e-learning environment and 3. The combination of a number of pedagogic approaches, irrespective of learning technology use.

On examination the first definition is the most widely used and complements face to face (F2F) teaching methodologies with online approaches supplementing and supporting the existing curriculum. The second is becoming more prevalent as we, the educators, define and devise new technological interventions or examine the nature of work-placed learning and the eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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extrapolation of education into varied and diverse environments - in effect developing ―models that combine various delivery modes” (Singh 2003). The third definition allows for current thinking in the design of the effective curriculum, where the infusion of varied and diverse methodologies are expressed in an evolving pattern of student centred learning. Singh (2003), comments that this creates a much richer set of learning strategies or learning dimensions that can be blended in ways such as: offline with online; self paced with live collaborative; structured with unstructured; custom content with off the shelf; and so on.

Purpose of blending the learning environment Why blend? There are a number of imperatives that drive organisations to use blended provisions. Economy is certainly high on the agenda as is use of technology. The ability to maximise the potential of large cohort learner groupings within the same facilitated delivery mode is a very seductive strategy from an economic perspective.

There are, though, other more complex but intriguing reasons including work: life balance, changing demographics, increased flexibility of learning options, widening participation and accessibility (Dziuban, Hartman & Moskal 2004; Carrol 2003; Johnson 2002; Hopper 2003).

The reliance on traditional modes of F2F learning is now being superseded by greater accessibility to information and information flow via the web and web-based multi user interfaced learning environments and platforms. The acknowledgement of the use of these electronic platforms and their associated CMS (content management systems) is changing the learning geography of both the learning provision and provider. In short learners learn differently using this type of blended platform (Levine & Wake2000) increasing the independence of the learner and increasing the duality of responsibility of the deliverer and their relationship with the learner (Morgan 2002). However it also means that we, the deliverers of education need to be more creative and innovative in our learning cultures.

The increased use of virtual learner communities and VLEs necessitates a reshaping of perspectives in relation to pedagogical values, ideology and patterns of learner-centred learning, particularly within work place learning. The blending of hybrid pedagogical imperatives and methodologies, within the physical and virtual learning environments, has increased access and flexibility for both the learner and the delivery of innovative learning spaces.

Managing this effectively requires a coherent response and the development of clear management protocols, to sustain this learning capability.

There are two themes that are resident within this philosophy: these are learning to adapt, and learning to learn. When considering these themes it is important to understand the dimensions of learning implicit within them. Learning to adapt is about adaptability to new situations and experiences, where sharing and the capacity for personal growth shared with others is the focus. This requires a need to ―see the world anew‖ and the ability for the learning institution to use and utilise the mental capacity of all its members to ―create the kind of processes that will improve its own‖ (Senge, 1993; Dixon, 1999).

Learning to learn is where elements of creativity and innovation are applied within the learning processes, therefore creating an environment where the individual and combinations of individual curriculum designers and learning organisations take ownership of the pedagogical design function, for the future rather than merely adapting to it (Hamel and Prahaled 1994).

This has exciting potential, where creativity and innovation are key processes within the knowledge architecture of the organisation and its academic partnerships with its learners. eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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What challenges are faced when blending the learning environment?

The notion of creativity, when designing pedagogical interventions, and innovative curriculum design, are implicit within blended learning. Glor (1997) states that “effective innovation is not just coming up with ideas, but also of developing and realising them successfully”.

Under what conditions is human interaction important to the learning process? At which stage do we need to consider learner ownership and independence within the dynamics of the asynchronous learning environment, interaction, learner choice and self regulation, staff support and development? Included within this is adequate and effective resourcing and strategic imperatives/priorities that actively enable creativity, within the pedagogical differentials that are resident within innovation and production of blended methodologies, as well as cultural adaptation within the digital divide.

However in today‘s changing contexts of work and learning we can see a shift in the global understanding of what is learning in educational terms, when considering new experiences within learning design (i.e. the blended experience) in opposition, or in collaboration, with more traditional means of designing and delivering a curriculum. Terms such as, ―knowledge workers‖ and ―knowledge societies‖, (Boud &Garrick 1999) become the central infra-structure for the knowledge architecture of the learning organisation.

The learning organisation faces many challenges in developing a coherent framework for facilitating an effective blended learning environment. There is a need to develop an understanding of what blended learning is, in relation to both how and why people learn, and also a need to ask what we, the educational provider, can learn from the people who populate these ‗programmes‘ of learning. Educational competence can be defined by which we both measure the distance travelled by the individual learner and groups of learners and value what those individuals bring to the learning arena, where both formal and informal learning coexist organically (Boud & Solomon 2001).

This article, and the research that accompanies it, is attempting to reconcile the relationships resident within the duality of experiences for both student /trainee and educator/trainer and to bridge the divide by consideration of current pedagogical theory within the reality of work-based educational practice and learning development.

Concluding remarks The strength of innovation systems depends on the effectiveness of organisations in disseminating knowledge and sharing information about innovations to others who have the capacity to utilise that knowledge and information (Frambach & Schillewaertb 2002; Furman and Stern, 2004). Bakhshi et al (2008) commented on how knowledge created by academic researchers, for example, can in principle be carried in at least two ways: 1. Embodied (via tacit knowledge, interaction, movement of people in systems) 2. Disembodied (via written info such as publications, manuals, patents, databases) It is anticipated that MHSE‘s work for CREANOVA is assisting in disseminating this knowledge to the wider community. eLearning Papers • www.elearningpapers.eu • Nº 21 • September 2010 • ISSN 1887-1542

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Jan Figel, European Commissioner responsible for Education, Training, Culture and Youth commented at the European Union Committee of the Regions (2009) how: "Both creativity and the capacity to innovate are key human qualities – they are inherent to all of us, and we make use of them in many situations and places, whether knowingly or not...I would like to see that the citizens of Europe understand better that by promoting human talents and the human capacity to innovate, we can actively shape Europe for the better, to help it fully develop its potential, both economically and socially."

It is anticipated that CREANOVA will aid our understanding of creativity and innovation and thereby play a role in the future shaping of Europe and the development of its economic and social potential.

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UK best practice organisations websites Arts Council England http://www.artscouncil.org.uk/ Edinburgh International Festival (EIF) http://www.eif.co.uk/ Find Your Talent Programme http://www.findyourtalent.org/ Joint Information Systems Committee (JISC) http://www.jisc.ac.uk/ National Enterprise Academy http://www.listentoyourpassion.org/ National School of Government http://www.nationalschool.gov.uk/ Open University (OU) http://www.open.ac.uk/ Prince‘s Trust http://www.princes-trust.org.uk/ Scottish Social Services Council (SSSC) http://www.sssc.uk.com/ Sorrell Foundation Young Design Programme http://www.thesorrellfoundation.com/young_design_programme.php Stephen Lawrence Centre http://www.stephenlawrence.org.uk Train to Gain Service http://www.traintogain.gov.uk/ University of the Arts, London (UAL) http://www.arts.ac.uk/ Tyneside Cinema, Newcastle upon Tyne http://www.tynesidecinema.co.uk/ University of the Third Age (U3A) http://www.u3a.org.uk/ Urban Learning Space, Glasgow (ULS) http://urbanlearningspace.org

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Whitehall Innovation Hub http://www.nationalschool.gov.uk/downloads/210035PlaceBased2.pdf Workers‘ Educational Association (WEA) http://www.wea.org.uk/

Authors Pat Gannon-Leary University of Edinburgh pat@bederesearch.co.uk Stephen Farrier University of Edinburgh

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