Creative Margins interweaves stories of the challenges and opportunities presented by the creation of culture in suburbs, focusing on Etobicoke and Mississauga outside Toronto, and Surrey and North Vancouver outside Vancouver. The book investigates whether the creative process unfolds differently for suburban and urban cultural workers, as well as how this process is affected by the presence or absence of cultural infrastructure and planning initiatives.

Suburbs can be incubators of creativity: innovative and complex, but all too often underappreciated. In Creative Margins, Alison L. Bain documents the unique role of Canadian artists and cultural workers in suburban place-formation and dismantles mischaracterizations of suburbs as cultural wastelands. Creative Margins interweaves stories of the challenges and opportunities presented by the creation of culture in suburbs, focusing on Etobicoke and Mississauga outside Toronto, and Surrey and North Vancouver outside Vancouver. The book investigates whether the creative process unfolds differently for suburban and urban cultural workers, as well as how this process is affected by the presence or absence of cultural infrastructure and planning initiatives. Bain shows how suburban culture can enhance a city-region’s vitality and sustainability. This book firmly debunks the myth of culture as a solely urban phenomenon and demonstrates the social and economic merits of investing in suburban art and culture.

An inspiring interactive guide to embracing imperfection and creating space for creativity in your mind and your life. “Give yourself margin” is a sewing maxim about leaving enough excess fabric to account for potential mistakes. This book from successful designer Stacie Bloomfield is about giving yourself the space—the mental margin—to reconnect with your creative self by trying new things and, yes, even by failing sometimes. With lush illustrations, empowering interactive prompts, and inspiring personal stories, Give Yourself Margin is perfect for anyone who is looking to rediscover their spark.

How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.

Creativity, whether individual or collective, is often approached without taking into account organizational processes, routines and management systems. However, in today’s constantly changing world, developing creativity at all levels of an organization is the key to developing a continuous flow of innovation and solving complex problems in order to achieve set goals. Organizational Creative Capabilities presents a comprehensive approach to creativity, with a view towards building a genuine organizational capability with the potential to deliver strategic advantages. The book provides an understanding of organizational creative capabilities through methods of openness, slack, socialization, agility, equipment and idea management. It provides keys and examples for developing recurrent, value-creating creativity, and also addresses the question of measuring the performance of creative capabilities.

Looking at suburbs as places of creativity gives rise to novel and thought-provoking narratives that typically run counter to the idea that suburbs are sites of "ordinary," "mundane," and "everyday" practices. Far from being geographies of "nowhere" – dull, materialistic, and monotone – suburbs are unpacked as being heterogeneous and historically layered places of living, work, and creation. Situating creativity in place and time, Creativity from Suburban Nowheres displaces mainstream understandings of creativity and widespread stereotypes commonly associated with the suburbs. Contributors explore the particular forms of creativity that suburbs elicit both in the process of their making, materialization, and community construction, and in the myriad ways in which suburbs are inhabited and experienced. They highlight accounts of suburbs as places that give people the space and latitude to shape individual and collective identities through creative practices at odds with mainstream culture, and often remote from the classic agglomeration "assets" associated with inner cities. Anchored in historical and geographical research, this volume highlights how and in what forms creativity should be understood in the suburbs, why and when creativity can be found, and how the notion of suburban creativity overthrows ingrained and dominant normative viewpoints. Rather than seeing creativity arise despite its suburban location, Creativity from Suburban Nowheres illuminates the emancipatory potential of suburbs for creativity.

Marginality proposes a framework that justifies and undergirds development of contextual theologies without becoming itself dominating. Jung Young Lee aims to address the dilemmas of contextual theology, not by moving one or another group from the margin to the center, but by redefining marginality itself as central.