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The Creative University by Birthe Lund,Sonja Arndt Pdf
In The Creative University: Contemporary Responses to the Changing Role of the University, leading authors position the university to inviting exploratory constructions and approaches that respond to past, present and future social and educational tensions and developments.
The Creative University by Michael A. Peters,Tina Besley Pdf
The concept of the "Creative University" signals that higher education stands at the center of the creative economy indicating the growing significance of intellectual capital and innovation for economic growth and cultural development. Increasingly economic activity is socialised through new media and depends on immaterial and digital goods.This immaterial economy includes new international labour markets that demand analytic skills, global competencies and an understanding of markets in tradeable knowledges. Delivery modes in education are being reshaped. Global cultures are spreading in the form of knowledge and research networks.Openness, networking, cross-border people movement, flows of ideas, capital and scholars are changing the conditions of imagining and producing creative work. The economic aspect of creativity refers to the production of new ideas, aesthetic forms, scholarship, original works of art and cultural products, as well as scientific inventions and technological innovations. It embraces both open source communication as well as commercial intellectual property.This collection explores these ideas as the basis for a new development agenda for universities. The chapters that form this edited book are a selection of papers given at an international conference held called The Creative University held at the University of Waikato on 15-17 August 2102. This conference investigated all the aspects of education in (and as) the creative economy.
In this wide-ranging book, Anke Schwittay argues that, in order to inspire and equip students to generate better responses to global challenges, we need a new high education pedagogy that develops their imagination, creativity, emotional sensibilities and practical capabilities.
The Creative University by Michael A. Peters,Tina Besley Pdf
The concept of the “Creative University” signals that higher education stands at the center of the creative economy indicating the growing significance of intellectual capital and innovation for economic growth and cultural development. Increasingly economic activity is socialised through new media and depends on immaterial and digital goods. This immaterial economy includes new international labour markets that demand analytic skills, global competencies and an understanding of markets in tradeable knowledges. Delivery modes in education are being reshaped. Global cultures are spreading in the form of knowledge and research networks. Openness, networking, cross-border people movement, flows of ideas, capital and scholars are changing the conditions of imagining and producing creative work. The economic aspect of creativity refers to the production of new ideas, aesthetic forms, scholarship, original works of art and cultural products, as well as scientific inventions and technological innovations. It embraces both open source communication as well as commercial intellectual property. This collection explores these ideas as the basis for a new development agenda for universities.
Re-imagining the Creative University for the 21st Century by Tina Besley Pdf
The creative university is a new concept that has a number of competing conceptions emphasizing digital teaching, learning and research infrastructures, the paradigm of intellectual property, creative social development and academic entrepreneurship. Not only does the concept include the fostering and critique of creative content industries and new forms of distance and online education but more fundamentally it refers to a reassessment of neoliberal strategies to build the knowledge economy. The economic aspect of creativity refers to the production of new ideas, aesthetic forms, scholarship, original works of art and cultural products, as well as scientific inventions and technological innovations. It embraces open source communication as well as commercial intellectual property. All of this positions education at the center of the economy/ creativity nexus. But are education systems, institutions, assumptions and habits positioned and able so as to seize the opportunities and meet the challenges? This book uses different contexts to explore these vital issues.
Intended as a contribution to a better understanding of how universities create value in numerous areas, this book discusses the determinants of creativity and ways of stimulating it with a special focus on approaches and practical solutions relevant to teaching.
The co-creative university has become the main driver of social and economic development stimulating internal (students and academics) and external creativity (companies and institutional environment) as well as cooperation in various areas (e.g. applied graduation theses, research projects, lifelong learning). Intended as a contribution to a better understanding of how universities create value in numerous areas, this book discusses the determinants of creativity and ways of stimulating it with a special focus on approaches and practical solutions relevant to teaching. Examples include problem-oriented student theses, which represent a successful combination of creativity with practical knowledge. Based on the findings of international surveys of students, the author offers an in-depth analysis of the differences between what they expect from universities and the degree to which their expectations are met. Comparing students’ opinions with those of employees of international corporations (working graduates) permitted the author to test the actual utility of selected aspects of university education. Regrettably, both groups of respondents gave low ratings to support for developing creativity, which should serve as a warning sign and inform future reforms at this level of education. This book is primarily targeted to those involved in education, policy-making, and socio-economic development. It provides a rich source of information for university managers on how to better fulfil their missions based on the idea of co-creativity. It also suggests how to improve the effectiveness of research and education in order to ensure that both can better respond to current development challenges.
Creative Clinical Teaching in the Health Professions by Sherri Melrose,Caroline Park ,Beth Perry Pdf
For healthcare professionals, clinical education is foundational to the learning process. However, balancing safe patient care with supportive learning opportunities for students can be challenging for instructors and the complex social context of clinical learning environments makes intentional teaching approaches essential. Clinical instructors require advanced teaching knowledge and skills as learners are often carrying out interventions on real people in unpredictable environments. Creative Clinical Teaching in the Health Professions is an indispensable guide for educators in the health professions. Interspersed with creative strategies and notes from the field by clinical teachers who offer practical suggestions, this volume equips healthcare educators with sound pedagogical theory. The authors focus on the importance of personal philosophies, resilience, and professional socialization while evaluating the current practices in clinical learning environments from technology to assessment and evaluation. This book provides instructors with the tools to influence both student success and the quality of care provided by future practitioners.
Practice-led Research, Research-led Practice in the Creative Arts by Hazel Smith Pdf
This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research
Author : Alison L. Bain Publisher : University of Toronto Press Page : 304 pages File Size : 52,7 Mb Release : 2013-12-11 Category : Social Science ISBN : 9781442666832
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.
This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.
Creative Practice Research in the Age of Neoliberal Hopelessness by Agnieszka Piotrowska Pdf
Addresses the very notion of what creative practice research is, its challenges within the academy and the ways in which it contributes to scholarship and knowledge.
Old and New, Tried and Untried by Jeri Kroll,Andrew Melrose,Jen Webb Pdf
Throughout the twentieth century, the world of higher education appeared to be stable and familiar. Universities delivered education and research under well-established discipline headings, and art schools delivered craft and field knowledge. Toward the end of that century, the relationship between the academy and the creative arts sector changed, and the role of teachers of creative practice and the expectations of tertiary creative arts courses changed with it. The past decades have been characterized by an ongoing debate about the respective value of teaching, creative practice, and research-particularly about the capacity of the arts to deliver research. This volume, from a distinguished list of academic writers and creators, offers contributions to these dialogues, as well as analyses of the international environment for the creative arts in the academy and the key government policies currently shaping the field.
Returning Home by Farina King,Michael P. Taylor,James R. Swensen,Terence Wride Pdf
Returning Home features and contextualizes the creative works of Diné (Navajo) boarding school students at the Intermountain Indian School, which was the largest federal Indian boarding school between 1950 and 1984. Diné student art and poetry reveal ways that boarding school students sustained and contributed to Indigenous cultures and communities despite assimilationist agendas and pressures. This book works to recover the lived experiences of Native American boarding school students through creative works, student interviews, and scholarly collaboration. It shows the complex agency and ability of Indigenous youth to maintain their Diné culture within the colonial spaces that were designed to alienate them from their communities and customs. Returning Home provides a view into the students’ experiences and their connections to Diné community and land. Despite the initial Intermountain Indian School agenda to send Diné students away and permanently relocate them elsewhere, Diné student artists and writers returned home through their creative works by evoking senses of Diné Bikéyah and the kinship that defined home for them. Returning Home uses archival materials housed at Utah State University, as well as material donated by surviving Intermountain Indian School students and teachers throughout Utah, Arizona, and New Mexico. Artwork, poems, and other creative materials show a longing for cultural connection and demonstrate cultural resilience. This work was shared with surviving Intermountain Indian School students and their communities in and around the Navajo Nation in the form of a traveling museum exhibit, and now it is available in this thoughtfully crafted volume. By bringing together the archived student arts and writings with the voices of living communities, Returning Home traces, recontextualizes, reconnects, and returns the embodiment and perpetuation of Intermountain Indian School students’ everyday acts of resurgence.
