The article explores cross-innovation between CCIs and SMEs. To enable such innovation, the DIVA project developed a set of tools and methods, based on an analysis of field-specific stakeholder requirements. By looking at specific cases of interaction between designers and artists on one side and business firms on the other, also leaning on the Cross Innovation project and considering a wide range of secondary research, the article captures both the existing mechanisms, as well as detects tacit potentials and new possibilities for deep cross-fertilization. Based on a theoretical reference framework presented in the first part of the article, the findings of a multi-stakeholder SWOT analysis carried out by the DIVA project indicate new innovative paradigms brought about by introducing art thinking next to the predominant paradigm of design thinking within traditional industry realms. Upon the empirical evidence of analyzed cooperation potentials, a Europe-wide selection of good practice cases and through focused interviews, the article digests a set of business-needs transformations that call for a profound cross-fertilization between art and entrepreneurship. These evidence-based guidelines present the potential of a new 'innovation catalyst' profile who facilitates the shift from unintentional spillovers to art-thinking based crossovers. Framework An introduction to the emerging crossfieldCreativity is an inherently human characteristic that has been reproducing through the history of human artistic expression and craft, starting from early ornamental pieces (e.g. Venus of Willendorf ) to adorned utilitarian objects (e.g. ancient greek pottery), frequently merging craft with art, the utilitarian with the merely beautiful, and/or metaphoric, conceptually meaningful etc. This has over and over resulted in craftsmen practicing their craft as art (e.g. master katana sword makers). It is exactly in design where the merger between art and business has most flourished, which is not a surprise. We need daily objects, glasses, scissors, doorknobs, chairs, etc., but we also like to surround ourselves with meaningful things of aesthetic appeal. Thus

The essay provides an introspection into the relationship between our identities and technology. It aims to show how our identities are affected by new modes of operation that were less accessible before the emergence of social networks. Through an observation of popular media (i.e. TV shows) and social media, it reveals how the self is convoluted, resulting into a variety of performed identities. It explores how through social media, individuals are able to create perceived identities, which are to various degrees lived or completely fabricated. The essay uses iZombie and Orphan Black as case studies to showcase how life and the media are intertwined, resulting in the latter holding a mirror to the former. With a distinction between the online and offline personality, it presents the augmentation of identity with the aid of new interfaces, online intermediaries that add to the interpersonal contact; from the initial landline phone to more current modes of communication (Facebook, Tinder…) the essay points out how levels of anonymity aid the emergence of new identities. It provides a mirror of contemporary life and the ways the augmented self-influences the ways we understand and view our identities. Keywords: context collapse, identity, performing the self, social media, TV shows