Home and family life in a changing civilization : held by the United States Office of Education in cooperation with the State University of Iowa and the Iowa State College of Agriculture and Mechanic Arts at Ames, Iowa, November 10 and 11, 1930 /

"January, 1931."

Statistica delle industrie del distretto camerale ...

At head of title, v. 1: Camera di commercio di Torino; v. 2: Camera di comercio e industria di Torino.

Cenni descrittivi e statistica delle industrie della città e provincia di Napoli.

At head of title: Reale Commissione per l'Incremento Industriale di Napoli.

A history of American manufactures from 1608 to 1860; exhibiting the origin and growth of the principal mechanic arts and manufactures, from the earliest colonial period to the adoption of the constitution; and comprising annals of the industry of the United States in machinery, manufactures and useful arts, with a notice of the important inventions, tariffs, and the results of each decennial census.

Mode of access: Internet.

Official catalogue of the International Electrical Exhibition, Philadelphia, commencing September 2, 1884, under the auspices of the Franklin Institute of the State of Pennsylvania for the promotion of the mechanic arts.

Advertising matter at end.

Report of the Board of Trustees of the New Hampshire College of Agriculture and the Mechanic Arts to the New Hampshire Legislature.

Includes annual reports of the New Hampshire Agricultural Experiment Station.

History of American industries and arts /

Princeton copy rebound.

A descriptive and historical account of hydraulic and other machines : or raising water, ancient and modern : with observations on various subjects connected with the mechanic arts : including the progressive development of the steam engine : in five books /

Mode of access: Internet.

The Western journal, of agriculture, manufactures, mechanic arts, internal improvement, commerce, and general literature.

Editors and proprietors: M. Tarver and T. F. Risk.

Bullish creative industries and the bear market

The creative industries idea is better than even its original perpetrators might have imagined, judging from the original mapping documents. By throwing the heavy duty copyright industries into the same basket as public service broadcasting, the arts and a lot of not-for-profit activity (public goods) and commercial but non-copyright-based sectors (architecture, design, increasingly software), it really messed with the minds of economic and cultural traditionalists. And, perhaps unwittingly, it prepared the way for understanding the dynamics of contemporary cultural ‘prosumption’ or ‘playbour’ in an increasingly networked social and economic space.

Introduction : creative industries and innovation policy

This special issue of Innovation : Management, Policy & Practice (also released as a book: ISBN 978-1-921348-31-0) will explore some empirical and analytic connections between creative industries and innovation policy. Seven papers are presented. The first four are empirical, providing analysis of large and/or detailed data sets on creative industries businesses and occupations to discern their contribution to innovation. The next three papers focus on comparative and historical policy analysis, connecting creative industries policy (broadly considered, including media, arts and cultural policy) and innovation policy. To introduce this special issue I want to review the arguments connecting the statistical, conceptual and policy neologism of ‘creative industries’ to: (1) the elements of a national innovation system; and (2) to innovation policy. In approaching this connection, two overarching issues arise.

Renovating Research and Policy on Creative Industries and Innovation

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Research Ethics and Creative Arts Hypothetical

The merits of a research project are commonly framed in terms of perceived benefits with respect to knowledge production, wellbeing, the social good, and so on. Such measures can, however, be at odds with certain types of creative practice, which may be perceived as frivolous, unsettling, or shocking. Moreover, creative practice research methodologies commonly eschew more traditional research conventions. In exploring these tensions, this live performance event (including a DVD component) adapted key dramatic principles developed in Geoffrey Robertson's groundbreaking Hypotheticals. The event was presented for an audience of staff and students at QUT's Creative Industries Faculty in July 2010. It confirmed Dr Angela Romano's contention that: “Part of the ethical clearance process for practice-led researchers will be to find a language to explain the methodology, significance, merit and integrity of their research to people outside their field of practice.” (Angela Romano, QUT Creative Industries) “Part of the ethical clearance process for practice-led researchers will be to find a language to explain the methodology, significance, merit and integrity of their research to people outside their field of practice.”

The enterprising artist and the arts entrepreneur : Emergent pedagogies for new disciplinary habits of mind

Traditional pedagogies in the arts in higher education focus largely on the studio experience in which a novice artist studies under one or more master teachers (e.g., Don, Garvey, & Sadeghpour, 2009). In more recent times, however, a shift in higher education curriculum and pedagogy in the arts has expanded this traditional conservatory model of training to include, among other components, career self-management and enterprise creation—in a word, entrepreneurship.This chapter examines the developing field of arts enterprise and arts entrepreneurship in higher education in a multinational context. The field is contextualized within the broader landscape of the creative industries and the consequential development of knowledge, skills, and the habits of mind necessary for artistic venture creation, sustainability, and success. Whereas the discourse about learning and teaching for business entrepreneurship is well established (e.g., Fiet, 2001), equivalent conversations about arts enterprise and entrepreneurship have only recently begun (Beckman, 2007, 2011; Essig, 2009). This chapter will address the contested definitions of key terms and concepts and also the question of how arts educators, although mindful of the pedagogic traditions of the arts school, are also drawing on the pedagogies of business entrepreneurship and cognitive theories of entrepreneurship to create innovative new transdisciplinary signature pedagogies for creative enterprise and entrepreneurship education in the arts.