RGS-IBG Response to Open Access Post REF2014
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10June 2014–D
COMMISSIONER DAY 3: EDUCATION AND TALENT 10 JUNE 2014 – DESIGN COUNCIL, LONDON Agenda 8.45 – 9.00: Welcome 9.00 – 10.00: Evidence 1 (Pat Thomson, University of Nottingham: Creative Partnerships) 10.15 – 11.15: Evidence 2 (Kate O’Connor, Creative Skillset and Andy Westwood, GuildHE: Access to training at HE level and to careers) 11.15 – 11.30: Coffee Break 11.30 – 12.30: Evidence 3 (Sam Cairns, Cultural Learning Alliance: Provision of Cultural Learning in Schools) 12.30 – 13.15: Commissioner Evidence (Dinah Caine, Creative Industries Council Skills Report) 13.15 – 14.15: Lunch 14.15 – 15.45: Reflection (Paul Gerhardt, BFI; Paul Reeve, Into Film; Dan Simmons, Creative Skillset and Iain Smith, British Film Commission, the Film Industry Training Board, and the Film Skills Council: Education and the Talent Pipeline in the Film Industry) 15.45 – 16.00: Coffee Break 16.00 – 17.30: Commissioner Discussion 17.30 – 18.30: Drinks Reception 2 Participants: Evidence Givers: Pat Thomson (university of Nottingham) Professor Pat Thomson PSM PhD is Director of the Centre for Research in Arts, Creativity and Literacy (CRACL). She is the current Director of the Centre for Advanced Studies which serves the faculties of Arts and Social Sciences. Pat is known for her interdisciplinary engagement with questions of creative and socially just educational learning and change. She joined the School of Education in 2003 and completed a five year term as Director of Research during which time she coordinated the School's successful RAE submission. She is an Adjunct Professor at the Free State University, South Africa, Visiting Professor at the University of Haskoli Islands! Iceland, and a Visiting Professor at Deakin University, Victoria, Australia. -
RLUK Conference 2010 Edinburgh RLUK Conference 2010 Locations
rluk research libraries uk rluk research libraries uk rluk research libraries uk rluk research libraries uk www.rluk.ac.uk www.rluk.ac.uk RLUK Research Libraries UK RLUK Research Libraries UK RLUK Research Libraries UK RLUK Research Libraries UK RLUK Conference 2010 Edinburgh RLUK Conference 2010 locations H North Bridge an o v e E r Princes Street S t Princes Street Jeffrey S North Bridge t Market Street A T h e Royal Mile St Mary’s St M Market Street oul High St d Bank St South Bridge High Street C George IV Bridge St Giles Cathedral Cowgate ctoria B ce Vi St rra Te Cowgate Pleasance on J hnst w National Museum o o B of Scotland W ce rra Johnston Te Chambers StreetTalbot Rice Gallery Grassmarket Lady Lawson St Bristol Place w Festival Nicolson St ort ro P r Theatre W te Bedlam t Pleasance o Theatre P Lady Lawson St P o t t e r d St r hmon o Ric Teviot Place w W ce n Pla School of Lauristo Mathematics C Mosque h a W Nicolson St p e l S A Radisson Hotel t B NLS C The Hub Restaurant & Conference Centre D D University of Edinburgh Library Buccleuch Place E Waverly Train Station, Edinburgh RLUK Conference 2010 Conference Tag: #rluk10 TM Follow us at @RL_UK www.rluk.ac.uk RLUK Conference 2010 Edinburgh Wednesday 10th November 11:00 - 13:00 Registration Dunedin 11:00 - 11:30 Tea and Coffee St Giles Suite 11:30 - 13:00 Tours of The National Library of Scotland and University of Edinburgh Libraries 11:30 - 13:00 RLUK Mentoring Programme Chairs: Sheila Cannell and Anne Jarvis Invitees Only Dunedin 13:00-13:45 Lunch St Giles Suite Day One: Future -
Talent Development and Cross-Sector Collaboration in a Creative Economy
Creating prosperity: Talent development and cross-sector collaboration in a creative economy 1st September 2011 Hong Kong Convention and Exhibition Centre Presented by 1 / 39 Supporting organisations 2 / 39 Timetable summary Room S426-S427 Hong Kong Convention and Exhibition Centre (Old Wing) 1 Harbour Road Wanchai Hong Kong Morning session Time Session 8.45am – 9.15am Guest registration 9.15am – 9.30am Welcome remarks 9.30am – 10.10am Keynote address 1 Overview of the creative economy and challenge for talent development 10.10am – 10.50am Keynote address 2 The role of higher education in building a creative economy 10.50am – 11.05am Refreshment break 11.05am - 11.45pm Panel session 1 Is Hong Kong ready for a creative economy? Creativity for business 11.45pm – 12.25pm Panel session 2 Is Hong Kong ready for a creative economy? Creativity for public and social services 12.25pm – 1.05pm Panel session 3 Is Hong Kong ready for a creative economy? Developing a creative mindset 1.05pm Morning session ends Afternoon session Time Session 1.05pm – 2.00pm Networking Lunch 2.00pm – 3.00pm Case studies: Collaboration amongst educators, business community, the public sector and NGOs 3.00pm – 4.00pm Sandbox workshop: Towards building a creative economy for Hong Kong 4.00pm – 4.45pm Concluding plenary 4.45pm Forum ends 3 / 39 Background In a post-industrial era, competition is not just about the pursuit of efficiency. To attain sustainable economic growth and balanced social and environmental developments, we need a paradigm shift on how businesses, the government and the NGOs can create value through creativity and innovation. -
Jennifer Edmond
DIGITAL TECHNOLOGY AND THE PRACTICES OF HUMANITIES RESEARCH Digital Technology and the Practices of Humanities Research Edited by Jennifer Edmond https://www.openbookpublishers.com © 2020 Jennifer Edmond. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Jennifer Edmond (ed.), Digital Technology and the Practices of Humanities Research. Cambridge, UK: Open Book Publishers, 2020, https://doi.org/10.11647/OBP.0192 In order to access detailed and updated information on the license, please visit https://doi. org/10.11647/OBP.0192#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Any digital material and resources associated with this volume are available at https://doi. org/10.11647/OBP.0192#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 978-1-78374-839-6 ISBN Hardback: 978-1-78374-840-2 ISBN Digital (PDF): 978-1-78374-841-9 ISBN Digital ebook (epub): 978-1-78374-842-6 ISBN Digital ebook (mobi): 978-1-78374-843-3 ISBN Digital (XML): 978-1-78374-844-0 DOI: 10.11647/OBP.0192 Cover image: photo by Nanda Green on Unsplash https://unsplash.com/photos/BeVW HMXYwwo Cover design: Anna Gatti Contents Acknowledgements ix Notes on the Contributors xi 1. -
Understanding Cultural Value: the Amateur and Voluntary Arts
Cultural Value Understanding Cultural Value: The Amateur and Voluntary Arts Jane Milling and Angus McCabe, with Robin Simpson and Hamish Fyfe 1 UNDERSTANDING CULTURAL VALUE: THE AMATEUR AND VOLUNTARY ARTS Understanding Cultural Value: The Amateur and Voluntary Arts Expert Panel: 21st March 2014 Jane Milling and Angus McCabe, with Robin Simpson and Hamish Fyfe Executive Summary - Within the amateur and voluntary sector there are diverse modes and forms of participation in making and creating across a wide range of arts, crafts and cultural practices. This means that generalisations about benefits, impacts, outcomes and valuations of amateur artistic creation should be made advisedly. - Amateur creative cultural activity is vital to the subsidised and commercial sectors through reciprocal sustainable relationships. - Sharing common goods in terms of resources, assets and expertise, the amateur sector sustains a wide range of creative practices and builds the cultural infrastructure on the local and national scale. There is a particular need to recognize amateur arts’ contribution to local cultural ecologies. - The expression of cultural value by participants as a creative process and experience in itself requires new ways of configuring the debate about intrinsic values, beyond the assumptions currently made within cultural economics or cultural policy. - Evaluation activity with amateur arts practices should reflect the scale and capacity of the groups involved and be a reflective process that adds to the practice, rather than being an externally imposed ‘tick box’. By ‘starting where people and organisations are at’ Social Audit and Accounting may offer a way forward. - There is a strong need to relate the value of cultural experience to the specific art form and to the participants who create, through arts and humanities based methodologies.