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All three authors are affiliated with WGBH in Boston. Courtney Michael is project manager and can be reached at courtney_michaelwgbh.org. Mayo Todorovic is an interactive designer and can be reached at mayo_todorovicwgbh.org. Chris Beer is web developer and can be reached at chris_beerwgbh.org.T his article will outline efforts by the WGBH Media Library and Archives (MLA) and the WGBH Interactive team to create online access points into our multimedia archive using innovative visualization techniques that create visual alternatives to traditional search, browse and faceted navigation and that highlight WGBH's rich media collections. The main objective in this effort is to allow scholarly researchers to access the collections, search and pinpoint useful records and discover related items they may want to explore. It has been an interesting challenge to strike a careful balance between allowing for targeted search and passive browse while also providing for serendipitous discovery opportunities. The depth of metadata essential for our expert audience led to our use of linked data in our cataloging processes, which enabled further experimentation with visualization.

I am a practising jewellery designer and artist who lectures at a university of technology in South Africa. The aim of this study was to deepen my understanding of my own creative design process so that I can better facilitate my students' creative development. I used the little-c (everyday creativity) definition of creativity as a framework for analysing work that I exhibited in a self-study research exhibition. By analysing the space in which I worked and the objects I produced, I looked to see how aspects of self manifested within the process of producing creative artefacts. This was a qualitative study in a transformative paradigm, using autoethnography as methodology. The analysis was done by conducting an autoethnographic interview with myself, and then analysing the responses. To ensure trustworthiness, I show several images of my creative work in situ. I also use a convention of nested text boxes to show the relationship between my reflections and meta-reflections. The study produced several key realisations that could leverage pedagogical implications: the creative process is not linear, serendipity can be harnessed, play should be encouraged, and personal experience can be incorporated in the creative design process. Autoethnographic research into my own creative design process made visible the richness of personal histories and local contexts as resources for learning and teaching about creativity and, more broadly, as resources for social change.

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