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.

This book responds to the lack of Asian representation in creative cities literature. It aims to use the creative cities paradigm as part of a wider process involving first, a rapid de-industrialisation in Asia that has left a void for new development models, resulting in a popular uptake of cultural economies in Asian cities; and second, the congruence and conflicts of traditional and modern cultural values leading to a necessary re-interpretation and re-imagination of cities as places for cultural production and cultural consumption. Focusing on the ‘Asian century’, it seeks to recognise and highlight the rapid rise of these cities and how they have stepped up to the challenge of transforming and regenerating themselves. The book aims to re-define what it means to be an Asian creative city and generate more dialogue and new debate around different urban issues.

The authors in this volume offer a new set of lenses that brings into focus the possibilities offered by different pedagogical approaches. With these lenses, this volume recognizes and answers the growing call from learners, parents, educators, communities, and national leaders for a re-imagined way to educate. This volume creates a vision of the future of education that calls for engagement in such pedagogies as blended learning, disruptive technology, connected and personalized. Contributors are: Vinita Abichandani, Fatma Nur Aktaş, Anastasios Athanasiadis, Anastasios (Tasos) Barkatsas, Seth Brown, Athina Chalkiadaki, Grant Cooper, Carlos García Cuadrado, Kimberley Daly, Yüksel Dede, Zara Ersozlu, Andrew Gilbert, James Goring, Anne K. Horak, Kathy Jordan, Katerina Kasimatis, Gillian Kidman, Peter Kelly, Manolis Koutouzis, Alex Koutsouris, Huk-Yuen Law, Susan Ledger, Kathy Littlewood, Simone Macdonald, Elisa Arranz Martín, Tricia McLaughlin, Juanjo Mena, Claudia Orellana, Anastasia Papadopoulou, Vassiliki Papadopoulou, Kate Park, Scott K. Phillips, Ioanna Skaltsa, Micah Swartz, Hazel Tan, and Lisa Williams.

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 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.

Working away from trends in government policy, this book takes a future-oriented re-imagining of schools with a focus on four innate human capacities: collaboration, critical reflection, communication and creativity. Miranda Jefferson and Michael Anderson draw together examples of practice from around the world to provide a reimagining of education. They show how our schools can be sustainably transformed to be places of support, challenge and joy in learning, responsive to students' needs and the needs in our workplaces and wider society. Readers are empowered to use knowledge and experience to create the reality they would like to see in their school, building engaged, innovative and active learning, pedagogy curriculum and leadership. Key ideas are summarised at the end of each chapter along with an extensive referencing and bibliography, and a supporting glossary.

Imagination and creative teaching approaches are increasingly important across all higher education disciplines, not just the arts. Investigating the role of imagination in teaching and learning in non-arts disciplines, this book argues that a lack of clarity about what imagination looks like in higher education impedes teachers in fostering their students’ creativity. Fostering Imagination in Higher Education tells four ethnographic stories from physics, history, finance and pharmaceutical science courses, analytically observing the strategies educators use to encourage their students’ imagination, and detailing how students experience learning when it is focussed on engaging their imagination. The highly original study is framed by Ricoeur’s work on different forms of imagination (reproductive and productive or generative). It links imaginative thinking to cognitive science and philosophy, in particular the work of Clark, Dennett and Polanyi, and to the mediating role of disciplinary concepts and social-cultural practices. The author’s discussion of models, graphs, strategies and artefacts as tools for taking learners’ thinking forward has much to offer understandings of pedagogy in higher education. Students in these case studies learned to create themselves as knowledge producers and professionals. It positioned them to experience actively the constructed nature of the knowledge and processes they were learning to use – and the continuing potential of knowledge to be remade in the future. This is what makes imaginative thinking elemental to the goals of higher education.