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 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 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 book discusses the idea of African identity in the twenty-first century, calling into question and deconstructing any understanding and representation of the idea of African identity as being based exclusively on the notion of ‘Blackness’, or the Black race. In countering such an idea of African identity as a flawed notion, the text propounds the idea of intermediality as a new modality of thinking about the importance of embracing the primacy of tolerance for the difference of identity. The notion of intermediality promotes the need for people of all races across the African continent to embrace the idea of difference as the defining feature of African identity so that the geographical locality called Africa is seen as a vibrant, open, and cosmopolitan continent which is accessible to people of all races and identities.

This book proposes ‘paragogic’ methods to re-imagine the art academy. While art schooling was revolutionised in the early 20th century by the Bauhaus, the author argues that many art schools are unwittingly recycling the same modernist pedagogical fashions. Stagnating in such traditions, today’s art schools are blind to recent advances in the scholarship of teaching and learning. As discipline-based education research in art eternally battles the perceived threat of epistemicide, transformative educational practices are rapidly overcoming the perennialism of the art school. The author develops critical case studies of open source and peer-to-peer methods for re-imagining the art academy (para-academia) and andragogy (paragogy). This innovative book will be of interest and value to students and scholars of the art school, as well as how the art academy can be reimagined and rebuilt.

"Re-imagining Doctoral Writing explores doctoral writing within a context where doctoral education is undergoing enormous transformation. Despite the importance attributed to doctoral writing for developing scholars, we have a limited understanding of the extent to which conceptualizations of doctoral writing are shared or contested, how ideas of doctoral writing have shifted over time, or where imaginings of the future of doctoral writing might take us. Drawing on historical studies that show how understandings of doctoral writing and doctoral writers have changed over time-as well as considering how doctoral writing has changed as we have moved into the 21st century-the contributors to this volume pursue these areas and explore what might happen if we begin thinking about doctoral writing without imagining a vast absence in front of us. By proceeding from a place in which doctoral writing is seen as a rich and increasingly deep area of scholarship, this book offers tools and approaches that expand and enliven conceptions of what doctoral writing might become and how it might be researched"--