Tim Riley

In the first few years of the 21st Century, access to and use of Web 2.0 digital technologies by everyday, non-professional web users increased considerably in the UK. Today anyone of any age with access to a computer, digital tools and an internet connection can engage in social media dialogues as creators and publishers of digital content. This practice is no longer the preserve of the professional. Many academics and media commentators see this as a significant shift from the way individuals traditionally receive and ‘passively’ consume media to a position where they are more actively, responsively and inclusively engaged. In the last fifteen years much research has been concerned with the online actives of children and young people. Several web commentators have written with enthusiasm of the ‘net generation’ and ‘digital natives’. However, little research has been conducted into the digital and online engagement of adult web users. This study investigates how adults aged 18-28,...

The purpose of this paper is to identify the needs and receptiveness of the creative industry sectors, in particular small and micro businesses, in respect of the adoption and development of degree apprenticeships. In addition, the paper aims to identify employers' barriers to entry into such programmes. Design/methodology/approach-Due to the lack of knowledge of degree apprenticeships, an 'explain and respond' method was adopted, where a comprehensive explanation of degree apprenticeships and the process for delivery was given to respondents. This enabled them to ask questions and give informed and knowledgeable response to interview questions. Findings-Participants in this research were generally positive about the integration and adoption of degree apprenticeships into their businesses. However, they suggest that the rigid procedure set by the Institute for Apprenticeships makes embarking on the process of developing standards and adopting degree apprenticeships difficult, time-consuming and impracticable for businesses of their size and in these sectors. This has implications for addressing skills shortages and diversity that stands to endanger the continued success of the creative industries. Originality/value-Little research has been conducted into the viability of degree apprenticeships for creative industries, particularly non-levy paying small and micro businesses.

Design/methodology/approach – Due to the lack of knowledge of degree apprenticeships, an ‘explain and respond’ method was adopted, where a comprehensive explanation of degree apprenticeships and the process for delivery was given to respondents. This enabled them to ask questions and give informed and knowledgeable response to interview questions.

Findings – Participants in this research were generally positive about the integration and adoption of degree apprenticeships into their businesses. However, they suggest that the rigid procedure set by the Institute for Apprenticeships makes embarking on the process of developing standards and adopting degree apprenticeships difficult, time-consuming and impracticable for businesses of their size and in these sectors. This has implications for addressing skills shortages and diversity that stands to endanger the continued success of the creative industries.

Originality/value – Little research has been conducted into the viability of degree apprenticeships for creative industries, particularly non-levy paying small and micro businesses.

In the summer of 2014 Ravensbourne, a UK university sector institution specialising in the fields of design and digital media, was invited by Creative Skillset, industry skills body for the Creative Industries, to explore the development of a work-based learning (WBL) degree through the Higher Education Funding Council for England (HEFCE) Catalyst Fund. Requirements of the funding stipulated that, in addition to WBL provision, the course should be offered as a two-year fast-track degree. This
was required to help reduce the increased financial burden placed on students, which arose from the substantial rise in HE tuition fees sanctioned by the UK coalition government in 2010. Subsequently, the newly elected Conservative government have pledged to substantially increase the number of apprenticeships in the UK through funding initiatives. This has placed a greater emphasis on the Higher
Apprenticeship programme and need to develop WBL programmes.
The development and composition of Ravensbourne’s WBL model was adapted from an existing and successful three-year, traditionally structured, BA (Hons.) Web Media Production course. The new course adopts a model whereby partnerships between external organisations and educational institutions are established through a contractual agreement (Boud and Solomon, 2001). Throughout the development process this WBL model of learning was revealed to be appealing to both employers and students within this sector. From the employers’ perspective, it provides them
with an appropriately skilled workforce that addresses the technical and digital skills gap, one of the most challenging areas of recruitment, enabling them to use “workbased degrees to ‘upskill’ and meet shortages in [their] companies and/or sectors” (Guile and Evans, 2010:15). From a students’ standpoint the advantages are clear; they learn their chosen subject while gaining industry experience in the workplace and earn a salary. It also enables them to produce a graduation portfolio of work that includes ‘real life’ projects.
However, while these responses were encouraging, a number of practical issues and academic challenges occurred that need careful scrutiny. The growth of the web industry, while rapid, is still embryonic. Consequently many employers, particularly in social media, remain small or micro businesses, capable of only employing one student. This caused several accumulative and administrative issues along with funding implications.
Therefore, this article presents a case study detailing the insight and knowledge gained throughout this process of exploration. Alongside the advantages and pitfalls of integrating WBL into sometimes fledgling but rapidly expanding creative industries, such as web media production and social media, it provides insight into the development of WBL in creative and vocationally orientated subjects relating to content creation and digital media practices. These are crucial areas for expansion as higher-level degree apprenticeships are rolled out in the UK.

The retired population in the United Kingdom is rising and statistics show that growth in the use of digital technologies and the Internet are also increasing within this age group. Small but substantial proportions are using the Internet for something more than to search and consume online goods and materials. This article explores what and where retired people learn digital technologies, skills often more directly associated with people born into a digital world. Through the use of qualitative data this article provides an insight into the (re)education of retired Internet users who are using digital technology and web media to create and share their own content. Digital technology within this sample of over 65s is often learnt unintentionally as a consequence of adopting a new hobby or interest in retirement or the rediscovery of an old one that they may not have been able to explore prior to retirement.