The concept of the learning region is central to the way of problem-solving. Like 'lifelong learning' the term is used variously and carelessly. This book explores the meaning and importance of the learning region. Not all universities warm to such local-regional engagement. The unwise pride of global forces and nations undermines it; but even the most prestigious and 'global' university has a local footprint and ever-watchful neighbours. The book arises from the work of PASCAL, an international non-governmental network Observatory. Its name exploits echoes of philosophical depth as well as technical modernity of language, taking the concepts of Place, Social Capital and Learning together with the vital connecting conjunctions of And, to define its mission. At the heart of the story is PASCAL's experience of working with multiple regions and their universities on their experience with engagement. The book examines in turn several central strands mainly of policy but also of process that are illuminated by the PASCAL Universities and Regional Engagement (PURE) project. The PURE processes and outcomes, despite limitations and severe disruption by forces located outside the region and often too the nation, show the potential gain from international networking and shared activities. The book also discusses internal arrangements within the administration before turning to external relations: both with the university and tertiary sector and with other stakeholders in the private and third sectors. Regional innovation systems require entrepreneurialism inside government, higher education and training, as well as within industry from small and medium enterprises to multinationals.
belief in the free market, corporate
power and financial globalisation (Olssen, 2004). Its trajectory has intensified as
a result of the 2008 global economic crisis and subsequent European debt crisis
(Overbeek, 2012). The State’s response has been expansionary policies, austerity
measures and structural reforms. Austerity measures relate to decisions by the
State to reduce deficits through spending cuts or tax rises, i.e. spending cuts
through withdrawal of State support for public services and welfare. Structural
reform includes entrepreneurialism through increasing
Governing and politicising ‘actually existing austerity’ in a post-democratic city
field of (constrained) action in London to suggest that a ‘common sense’ over how austerity should be managed is being pushed by local urban elites, based on three inter-locking logics: compassionate competence; responsibilisation; and speculative urban entrepreneurialism.
Both myself and Ellis ( chapter 4 ) explore the structural connections between austerity, inequality and violence. But where Ellis explores interpersonal expressions of violence, this chapter engages with a structural violence which has unfolded on the terrain of the local state
energy and resources
of industry, commerce and its skilled workforce to achieve economic objectives.
learning and partnership processes
Regional innovation systems (see Chapter 9) require entrepreneurialism inside
government, higher education and training, as well as within industry from SMEs
to multinationals. An administration working in non-collaborating silos cannot
build partnerships and generate synergies outside.
The same applies to nurturing broader social, health and welfare, recreational
and cultural well
the same time, it remains the case that
these enterprises are defined and driven by the creativity and narratives of a single
individual, working within existing systems to maximise that person’s productivity. A
portrait emerges of a networked artistic enterprise driven by the neoliberal values of
individualism, entrepreneurialism, and resistance to external regulation (see Harvie,
Fair Play 2–3). In responding to its circumstances and altering its approach within
them, Ex Machina displays the pragmatism and reflexivity that Wendy Brown argues
production, I consider the significance of the artist’s portrayal of presumably
enslaved black people typically engaged in episodes of entrepreneurialism,
leisure, or merrymaking.
In his analysis of Atlantic slave traders, James Pope-Hennessy claimed
that nothing better illustrates what he termed the ‘Myth of the Merry and
Contented Slave’ than ‘a series of vignettes in the mode of the lovely coloured
engravings of slave festivals based on the pictures of the eighteenth-century
painter Agostino Brunyas [sic]’.14 For Pope-Hennessy and others, Brunias’s
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
professional groups that are otherwise easily exploited for the sake of networked governance, a governance that thrives on atomisation, cynical → opportunism and → entrepreneurialism of the self . Wages for art work is such an important idea, because it disincentivises freelancers from succumbing to competitive entrepreneurialism by creating a baseline of equality, the important side effect of which is to prevent → exclusions , as even the less-recognised projectarians get paid and acknowledged.
The campaign for wages for artwork resembles the
prolonged periods out of work. A career consists not in filling ‘vacancies’, but in engaging in a multitude of often very heterogeneous projects
(Boltanski and Chiapello 2005 : 312).
This shift from cultural producer to entrepreneur became so naturalised over the course of time that neoliberal ideologues frequently present artists as role models of entrepreneurialism in a flexible labour market, just as described by Gerald Raunig in the context of industries of creativity (Raunig
generation of migrant workers in the nineteenth century, the racialisation of different groups and neighbourhoods fragmented potential resistance to these attacks by the working class of the city.
1980s municipal entrepreneurialism to New Labour
Primarily since the riots of 1981, the imaginary of the ghetto has repeatedly been adopted in UK policy discourse to describe racialised social problems of the inner city, and has more recently incorporated social housing estates (Hancock and Mooney, 2013 ; MacDonald et al., 2014 ). The