The idea of creative reuse urbanism — the roles of local creativities in culturally sustainable place-making : Tokyo, Bangkok, Singapore

Gentrification is a part of the process of urban renewal which generates significant, and often negative, social impact on existing neighborhood structures, as it tends to be driven predominantly by simple rules of an economy and imperatives of a globalized, "free" market, insensitive to the subtleties of local culture and values. This idea of creative reuse urbanism questions the necessity of extreme, damaging impacts of gentrification. It argues for an urbanism which is culturally rooted, locally related and deeply contextualized. This chapter shows that such urbanism is not just another utopian concept, but a living reality. Examples from Tokyo, Bangkok and Singapore demonstrate a rich spectrum of possibilities, a kind of pre-gentrification which has the capacity to get involved in creative reuse and recycling of existing stocks and inheritances, thus becoming a positive contributor to sustainable urban regeneration. Presented reused buildings and introduced activities are active ingredients in larger process of place-making in the three cities. Tokyo, Bangkok and Singapore were observed through the lenses of sustainability and cultural difference, with main focus on intersections between the practices of reuse and local creativity.

Research methodologies in creative practice : literacy in the digital age of the twenty first century - learning from computer games

Literacy remains one of the central goals of schooling, but the ways in which it is understood are changing. The growth of the networked society, and the spread of Information and Communications Technologies (ICT), has brought about significant changes to traditional forms of literacy. Older, print based forms now take their place alongside a mix of newer multi-modal forms, where a wide range of elements such as image, sound, movement, light, colour and interactivity often supplant the printed word and contribute to the ways in which meaning is made. For young people to be fully literate in the twenty-first century, they need to have clear understandings about the ways in which these forms of literacy combine to persuade, present a point of view, argue a case or win the viewers’ sympathies. They need to know how to use them themselves, and to be aware of the ways in which others use them. They need to understand how digital texts organise and prioritise knowledge and information, and to recognise and be critically informed about the global context in which this occurs. That is, to be effective members of society, students need to become critical and capable users of both print and multimodal literacy, and be able to bring informed and analytic perspectives to bear on all texts, both print and digital, that they encounter in everyday life.

This is part of schools’ larger challenge to build robust connections between school and the world beyond, to meet the needs of all students, and to counter problems of alienation and marginalisation, particularly amongst students in the middle years. This means finding ways to be relevant and useful for all students, and to provide them with the skills and knowledge they will need in the ICT-based world of the Twentyfirst century. With respect to literacy education, engagement and technology, we urgently need more information as to how this might be best achieved.

The science of our own fiction : affective experiments enacted through creative research

This paper will explore the ways in which art may be understood as an ongoing experiment that interacts with the plasticity of the body to prompt change and affect the body-environment relationship. The arts offer an approach to research that recognizes the importance of the affect in studies of perception and action, self-organization and selection. An affective approach to experimentation would connect cognitive activity to the material processes of the environment in a science of our own fiction. This connection becomes the basis of affective experiments, which aim to yield new insights by merging the creative researcher with self-affecting-experimenter. To this end, I will discuss the scientific objectives of the “rubber hand”, and the ‘mirror-box” experiments are contrasted with work by artists-turned-architects Arakawa and Gins and three of my creative projects to suggest how creative research might enact embodied change. Throughout the paper I will argue that cognitive processes such as attention, selection, decision and judgment are ripe for re-entry and experimentation through an embodied approach to acquiring knowledge that is particular to the arts.

Creative research : a radical subjectivity?

The struggles around notions of creative research are in some ways engaged with the return of the subject in face of post/structuralist moves that have tried to evacuate or dissolve subjectivity, or reduce it to an element in a structure. What this kind of subjectivity is, and how to define it, seems a matter up for grabs. What I suggest is that creative research is trying to stretch beyond its boundaries by advocating for a knowledge-producing subjectivity that rejects the methodological positivism of so called real research (which in many ways is centred upon the presuppostition of a transcendental subject), while negotiating the discourses of postmodernity and post/structuralism which are suspicious of, or radically dismiss, subjectivity as a category. I suggest that creative research might be a radical gesture, indeed a radical subjectivity, whose possibilities as creative/critical practices reveal the human content of the seemingly autonomous forms which are the outcome of the fragmentary world of capitalist social relations.

Knowledge, desire and power in global politics : western representations of China's rise

How is the rise of China perceived in the West? Why is it often labelled as ‘threat’ and/or ‘opportunity’? What are the implications of these China imageries for global politics?

Taking up these important questions, this ground-breaking book argues that the dominant Western perceptions of China’s rise tell us less about China and more about Western self-imagination and its desire for certainty. Chengxin Pan expertly illustrates how this desire, masked as China ‘knowledge’, is bound up with the political economy of fears and fantasies, thereby both informing and complicating foreign policy practice in Sino-Western relations. Insofar as this vital relationship is shaped not only by China’s rise, but also by the way we conceptualise its rise, this book makes a compelling case for critical reflection on China watching.

Knowledge, Desire and Power in Global Politics is the first systematic and deconstructive analysis of contemporary Western representation of China’s rise. Setting itself apart from the mainstream empiricist literature, its critical interpretative approach and unconventional and innovative perspective will not only strongly appeal to academics, students and the broader reading public, but also likely spark debate in the field of Chinese international relations.

CADET - Centre for Advanced Design in Engineering Training

BACKGROUND : The Centre for Advanced Design in Engineering Training (CADET) is a partnership of Deakin University and the Gordon Institute of TAFE that will improve access and pathways into careers to address Australia’s critical engineering skills shortage (Walton, C). Local high schools, Belmont High and Matthew Flinders Girls Secondary College are included as strategic partners. CADET is proposed to be a teaching and learning facility providing a project focused modern engineering approach to students at regional schools and TAFE as well as Deakin’s degree programs. CADET will emphasize engineering design and development through virtual and physical modelling, simulation and prototyping – skills at the heart of the 21st century engineering challenges, and will serve as an attractor to engineering and related professions.

PURPOSE : The purpose of this paper is to present an argument toward the development of a Centre for advanced design in engineering training. CADET is proposed to increase the awareness and attractiveness of engineering as an education and career option, particularly for women, in regional schools, provide under one roof state-of-the-art engineering design, modelling and prototyping facilities, facilitate access and articulation pathways between school, VET and Higher Education, increase the physical capacity to serve student demand in western Victoria, and reinvigorate engineering as an essential component of a skilled regional economy.

DESIGN/METHOD : The evidenced based argument towards the proposed centre for advanced design in engineering training is based on a detailed literature review as well as a research study with industry representatives in engineering design. The learning principles of the model are also investigated and aligned to the proposed centre.

RESULTS : CADET is a change to the way engineering has traditionally been taught. The outcomes of CADET will be to provide a broad range of contemporary/relevant teaching programs, improve the social benefits gained from teaching programs, improve retention rates, advance partnerships that link with rural and regional victoria, and collaborate with local communities to encourage governments to support regional capacity building. Through focus group interviews and open discussions with industry and academia over the past 12 months on the integration of design skills in engineering education, results indicate that the following key skills are essential elements required for a successful project oriented design based learning curriculum are creative & innovative skills, successful industry engagement, and awareness of design skills in early years. Feedback also showed that 80% of the industry representatives are looking to recruit graduates who acquired design-equipped skill and 60% indicated that they want graduates who acquired knowledge through projects.

CONCLUSIONS : CADET projected benefits are significant at the strategic and operational levels. They include access for more women in engineering, facilitates articulation pathways between VET and HE, targeted recognised critical current engineering skills shortage in Australia, improvement of regional access, attractiveness and participation in tertiary education, achievement of a significant improvement in the teaching-research nexus.

Dealing with alcohol-related harm and the night-time economy

Alcohol-related problems are a major cause of social disorder and illness in Australia. In particular, problems associated with the night-time economies of urban and regional centres cause substantial community concern and are a considerable drain on police, community and health resources. The estimated cost of alcohol to the community is $15.3 billion, including costs associated with crime, violence, patient treatment, loss of productivity and premature deaths in 2004–05 (Collins 2008). Alcohol has also been identified as a factor in around three quarters of assaults and incidents of offensive behaviour on the street (Buss 1995). Previous research has identified several issues that contribute to the levels of short-term harm associated with risky drinking. These include: excessive consumption at licensed premises, consumption in public areas and lack of transport and security in entertainment precincts (Homel et al. 1992; Graham & Homel 2008).

Drinking in licensed venues is another predictor of harm and public disorder. More than half of offences occurring on the street have been associated with licensed premises in Australia (Buss 1995). A complex range of factors increase risky drinking and associated harms on licensed premises including: aspects of patron mix; levels of comfort, boredom, and intoxication; promotions that cause mass intoxication; and the behaviour of security/bouncers (Homel et al. 1992). Violence has also been shown to be perpetuated by poor venue management, lax police surveillance, lack of transport options for patrons, and inappropriate bureaucratic controls and legislation (Homel et al. 1992). This project aims to provide evidence-based knowledge regarding the implementation and impact of innovative local initiatives directed at alcohol-related harms.

Inside Movement Knowledge

Inside Movement Knowledge was a two-year (2008-2010) collaborative, interdisciplinary research project into new methods for the documentation, transmission and preservation of contemporary choreographic and dance knowledge. The project has evolved out of research initiated in 2004 by Amsterdam-based dance company Emio Greco | PC (Pieter C. Scholten) into systems for recording and transmitting the essential elements of their creative work. Inside Movement Knowledge took the outcomes of this earlier research (book, interactive DVD and installation) as a ‘case-study’ to continue exploring the questions of Emio Greco | PC in collaboration with a new consortium made up of the Netherlands Media Art Institute (through their preservation department); the University of Utrecht (through the newly established Theatre Studies program); and the Dance Department/ Theaterschool, Amsterdam School of the Arts. This expanded research project was supported by the Dutch Ministry of Education, Culture and Science.

The documentation website will remain on-line indefinitely as a resource for researchers interested in the documentation, transmission and preservation of contemporary dance and in how this project was set up to explore these topics.

Bridging the copyright and licensing knowledge gap

Objectives: The purpose of this project was to examine the copyright and licensing knowledge gap of academic staff to identify their current understanding of, and attitudes towards, copyright, licensing and the open access movement in relation to the content they use, create, and share in their teaching and research practice. The motivation behind this study was to gather information to assist the Library in creating and providing effective information resources and training for academic staff.

Methods: An anonymous online survey was distributed to Faculty of Health academic staff at Deakin University. Seventy individuals in the Faculty of Health completed the survey.

Results: The results suggested that most of the academics have used content created by others in their teaching materials, but they are not confident about complying with copyright or licensing conditions whilst doing so. Most had not posted any of their own content online, but would generally be willing for it to be used by others, with attribution. Around half had never posted their published articles in an institutional or discipline repository, but again, would be willing for them to be used for educational purposes. Most academics have never shared their research data online, and some were very unwilling to do so - despite current pushes to broaden access to research data sets. Finally, most had never applied a Creative Commons licence to a piece of work, and over half were unaware of what rights they had retained under publishing agreements for their work. It was strongly indicated that an informational website would be very helpful in providing guidance around topics of copyright, licensing and sharing.

Conclusions: Results were largely consistent with other similar studies conducted around these topics. There is a clear role for librarians to continue providing such training and resources as the push for Open Access resources, publishing, and data only gains momentum.

Constructing knowledge

The most popular model of how students learn is known as the constructivist model of learning. There are variants of this model, but the main features are that learning occurs in the context of pre-existing experiences and ideas, that new concepts are transformed to fit or build on those existing ideas, and that learning occurs in a social or cultural context. Learners are not empty vessels, into which new knowledge can be injected. New concepts, which are consistent with and extend pre-existing experiences and ideas, are easily and effectively assimilated. Learning is difficult, when learners have pre-existing incorrect ideas or alternative conceptions, as they must first unlearn the misconceptions in order to incorporate the new information. In a different context, it is usually much harder and more expensive to retrofit an existing house than to build from scratch. Similarly, it is very hard to overcome bad habits. A previous column in Chemistry in Australia [July 2013, page 35], noted that we simplify ideas when teaching chemistry to younger students, but warned that over-simplication often results in misconceptions that will hinder future learning. Most chemistry educators favour constructivism, because there are similarities with the process of discovery in science. Firstly, the advancement of scientific knowledge builds on past experiences and knowledge: Isaac Newton famously acknowledged, “If I have seen further it is by standing on the shoulders of giants”. Secondly, observations and data of themselves are not meaningful, until that information has been transformed to extend existing ideas: Nobel Laureate Lawrence Bragg wrote, “the important thing in science is not so much to obtain new facts as to discover new ways of thinking about them”. Science as a Human Endeavour (SHE) is one of the strands in the Australian Curriculum. Similarly, one of the learning outcomes in the Draft Chemistry Academic Standards is that graduates will be able to recognise the creative endeavour involved in the acquiring knowledge and to recognise the testable and contestable nature of chemistry. Science is practiced individually and collectively by people. Human beings, who have human virtues and fallibilities, are responsible for scientific advancements. New knowledge is constructed in the minds of learners and scientists. Just as discussions in work teams, workshops, conferences, and the scientific literature, help scientists to extend and improve scientific understanding, the important role of teachers is to guide students to refine, alter and improve their scientific understanding when extending their scientific boundaries.

Because it takes a village to fund the answers: Crowdfunding University Research

Whichever way you look at it, online crowdfunding is ramifying. From its foundations supporting creative industry initiatives, crowdfunding has branched into almost every aspect of public and private enterprise. Niche crowdfunding platforms and models are burgeoning across the globe faster than you can trill “kerching”. Early adopters have been quick to discover that in addition to money, they also get free market information and an opportunity to develop a relationship with their market base. Despite these evident benefits, universities have been cautious entrants in the crowdfunding space and more generally in the emerging ‘collaborative economy’ (Owyang, 2013). There are many cultural and institutional legacies that might explain this reluctance. For example, to date universities have achieved social (and economic) distinction through refining a set of exclusionary practices including, but not limited to, versions of gatekeeping, ranking and credentialing. These practices are reproduced in the expected behaviors of individual academics who garner social currency and status as experts, legislators and interpreters (Osborne, 20014: 435). Digitalization and the emergent knowledge and collaboration economies, have the potential to disrupt the academy’s traditional appeals to distinction and to re-engage universities and academics with their public stakeholders. This chapter will examine some of the challenges and benefits arising from public micro-funding of university-based research initiatives during a period of industrial transition in the university sector.Broadly then this chapter asks; what does scholarship mean in a digital ecosystem where sociality (rather than traditional systems for assessing academic merit) affords research opportunity and success? How might university research be rethought in a networked world where personal and professional identities are blurred? What happens when scholars adopt the same pathways as non-scholars for knowledge discovery, development and dissemination through use of emerging practices such as crowdfunding. These issues will be discussed through detailed exploration of a successful pilot project to crowdfund university research; Research My World. This project, a collaboration between Deakin University and the crowdfunding platform pozible.com, set out to secure new sources of funding for the ‘long-tail’ of academic research. More generally, it aimed to improve the digital capacity of the participating researchers and create new opportunities for public engagement for the researchers themselves as well as the university. We will examine how crowdfunding and social media platforms alter academic effort (the dis-intermediation or re-intermediation of research funding, reduction of the compliance burden, opportunities for market validation and so on), as well as the particular workflows of scholarly researchers themselves (improvements in “digital presence-building”, provision of cheap alternative funding, opportunities to crowdsource non-academic knowledge). In addressing these questions, this chapter will explore the influence that crowdfunding campaigns have for transforming contemporary academic practices across a range of disciplinary instances, providing the basis for a new form of engagement-led research. To support our analysis we will provide an overview of the initiative through quantitative analysis of a dataset generated by the first iteration of Research My World projects.

Failing to see the woods for the trees: in search of critical creative research

Not all examples of creativity can be explained by the functionalist view that creativity is inherent in an artefact and comes about due to a “creative” individual’s efforts within a conducive environment. I build a case for creativity research which overturns assumptions inherent in functionalist research and conceptualises the phenomenon as a context specific, social construction. However, reviewing the limited critical research, I find that there is inconsistency in the theoretical models and the empirical work and ongoing privileging of the individual. It is unsurprising therefore, that, this research has been criticised for causing fragmentation within the field. I argue, to build knowledge, critical creativity research needs to adopt a systemic perspective, focus on social processes and consider collectives.