‘Creative destruction’: knowledge economy policy and the future of the arts and humanities in the academy1

2004 ◽  
Vol 19 (1) ◽  
pp. 3-22 ◽  
Author(s):  
Elizabeth Bullen * ◽  
Simon Robb ◽  
Jane Kenway
Antiquity ◽  
1928 ◽  
Vol 2 (5) ◽  
pp. 26-36 ◽  
Author(s):  
D. Randall-MacIver

The standard Roman histories, especially when written by authors who have an undisguised contempt for archaeology, give very little idea of the civilization and development of Italy before the later days of the Republic. They are histories of Rome but not of Italy. And so the reader is subconsciously led to suppose that the Romans were the most important and the most advanced people on the peninsula, who gradually extended the benefits of their superior civilization over a series of more or less barbarous neighbours. This is a complete inversion of the real facts. The Romans of the Republic were a rather backward people, and it was hardly before the second century B.C. that they could begin to rank as the equals of the Italian provincials in general refinement and culture. Incessantly occupied with the wars which were essential to their very existence, the Romans had no leisure, even if they possessed the inclination, to cultivate the arts and humanities. But, while the future head of the world was struggling for bare life, a rich Italian civilization had been born and developed in the independent territories which had not yet fallen under her sway. Before ever they came under the organizing and levelling domination of the central capital, Etruria, Venetia, Lombardy and Picenum had each evolved its own distinct and very valuable local culture; while the whole south from Naples to Brindisi had been civilized by Corinthian and Ionic influence. Rome when she conquered and annexed these territories in due sequence fell heir to a fully finished product. Italy had been created, but not by Rome; the task that fell to the Romans was much more suited to their peculiar abilities—they had to organize and administer the country.


LOGOS ◽  
2018 ◽  
Vol 29 (2-3) ◽  
pp. 80-90
Author(s):  
Samantha Rayner

This paper explores the contexts in which the academic books of the future in the arts and humanities (A&H) are being shaped, with the aim of demonstrating how crucial it is that the communities of practice that produce those books continue to work together to build better bridges of understanding and collaboration. There is particular reference to the Arts and Humanities Research Council/ British Library Academic Book of the Future Project (2014–2017) and to a case study of Sir Thomas Malory’s Le Morte Darthur.


2010 ◽  
Vol 35 (1) ◽  
pp. 18-21 ◽  
Author(s):  
David Nicholas

This paper describes and evaluates the information-seeking behaviour of young people in the virtual environment. Data are drawn from a JISC/BL funded project on the future scholar and a seven-year study of the virtual scholar conducted by CIBER at University College London. Hundreds of thousands of young people, mainly students, from all over the globe, are covered in the log analyses. On the basis of these data, the characteristics of their ‘digital footprints’ are drawn, demonstrating the huge paradigm shift that has occurred in the information seeking of young scholars. The results are surprising, disturbing and challenging and the author concludes with a discussion of how information professionals and the arts and humanities community in general might best meet young people’s information needs.


2017 ◽  
Vol 32 (6) ◽  
pp. 535-551 ◽  
Author(s):  
Ranjana Das ◽  
Brita Ytre-Arne

We write this article presenting frameworks and findings from an international network on audience research, as we stand 75 years from Herta Herzog’s classic investigation of radio listeners, published in Lazarsfeld and Stanton’s 1944 war edition of Radio Research. The article aims to contribute to and advance a rich strand of self-reflexive stock-taking and sorting of future research priorities within the transforming field of audience analysis, by drawing on the collective efforts of CEDAR – Consortium on Emerging Directions in Audience Research – a 14-country network (2015–2018) funded by the Arts and Humanities Research Council, United Kingdom, which conducted a foresight analysis exercise on developing current trends and future scenarios for audiences and audience research in the year 2030. First, we wish to present the blueprint of what we did and how we did it – by discussing the questions, contexts and frameworks for our project. We hope this is useful for anyone considering a foresight analysis task, an approach we present as an innovative and rigorous tool for assessing and understanding the future of a field. Second, we present findings from our analysis of pivotal transformations in the field and the future scenarios we constructed for audiences, as media technologies rapidly change with the arrival of the Internet of Things and changes on many levels occur in audience practices. These findings not only make sense of a transformative decade that we have just lived through but they present possibilities for the future, outlining areas for individual and collective intellectual commitment.


2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Simon Moreton

The creative economy is a complex assemblage of policy, practice and industrial activity, underpinned by apparently novel configurations of cultural and creative work. In recent years, it has become the focus of a number of schemes which have seen major shifts in how UK research councils fund universities. This paper reflects on the work of Research and Enterprise in Arts and Creative Technology (REACT), a major knowledge exchange programme aimed at stimulating growth in the creative sector through collaborations with universities in South West England and South Wales. In the first section, I unpack some of the underpinning logics of the ‘creative turn’ by which creativity has become a key currency in modern economies. I then consider how this shift has affected universities. I next ask how the various rationalities of an economy driven by creativity have moved into the knowledge exchange sphere. I approach this by formulating creative economy policy as a form of governmentality performed through assemblages that facilitate policy transfer. The paper turns to the empirical example of REACT, considering it as an assemblage through which reconfigurations of discourses, spatialities, temporalities, subjects and calculative practices have unfolded. The analysis shows how the multivalent, ad hoc and sometimes contradictory experience of producing an assemblage such as REACT means that policy transfer is never entirely complete nor stable, and that in this sense it is still possible for knowledge exchange programmes to imagine and generate alternative approaches to creativity that are not wholly reducible to a neoliberal or capitalist logic, although they remain implicated therein.


Author(s):  
Simon Keegan-Phipps ◽  
Lucy Wright

This chapter considers the role of social media (broadly conceived) in the learning experiences of folk musicians in the Anglophone West. The chapter draws on the findings of the Digital Folk project, funded by the Arts and Humanities Research Council (UK), and begins by summarizing and problematizing the nature of learning as a concept in the folk music context. It briefly explicates the instructive, appropriative, and locative impacts of digital media for folk music learning before exploring in detail two case studies of folk-oriented social media: (1) the phenomenon of abc notation as a transmissive media and (2) the Mudcat Café website as an example of the folk-oriented discussion forum. These case studies are shown to exemplify and illuminate the constructs of traditional transmission and vernacularism as significant influences on the social shaping and deployment of folk-related media technologies. The chapter concludes by reflecting on the need to understand the musical learning process as a culturally performative act and to recognize online learning mechanisms as sites for the (re)negotiation of musical, cultural, local, and personal identities.


2021 ◽  
pp. 095042222110126
Author(s):  
Stella Xu ◽  
Zimu Xu ◽  
Fujia Li ◽  
Arun Sukumar

Entrepreneurship-related modules have become increasingly popular over the years, not only among business school students but also among those from other disciplines, including engineering and the arts and humanities. In some circumstances, they are offered as optional modules for students across different faculties and disciplines. While it is beneficial to mix students with different backgrounds, bringing in a wide range of perspectives, there are also challenges relating to course design and student engagement. With these challenges in mind, the authors trialled a new approach in the hope of motivating students from diverse academic and socio-cultural backgrounds to engage more fully in the classroom by utilising student entrepreneurs as guest speakers. The student-centric approach has proved effective in enhancing student engagement, as evidenced by both informal and formal feedback.


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