Academia

, 122–136

CPE and example themes for arts in

, 22–23

full CPE framework used in arts and

, 24–26

Academic dimension

, 144

Acoustics

, 138

Adoption

, 157–159

Agency

, 115

Apple Music

, 166

Art schools

, 1, 7

Art(s)

, 1, 9, 89, 99

academia, research and

, 122–136

art education in higher education

, 98–115

arts centre and five functions

, 102

and culture

, 91, 171–172

education in higher education

, 98–115

in HE

, 109, 171

in higher education

, 5

meta-narratives, expanding knowledge domains and arts

, 154–160

Open Innovation 2.0

, 154

practice-as-research and creative pull

, 129

quintuple helix partnership models

, 153–154

REF

, 153–154

research knowledge production systems

, 153–154

third cultures, or interdisciplinarity in higher education

, 146–152

university art-schools as drivers for cultural and economic growth

, 90–98

university-housed arts centre

, 115–122

university-housed research centre

, 136–146

Arts and Humanities Research Council (AHRC)

, 129

Arts centre and five functions

, 102

Arts Council

, 6–7, 46, 53–55, 58, 87–88, 104–105

Arts in academia

, 20

CPE and example themes for

, 22–23

full CPE framework used in

, 24–26

Arts policy as cultural canaries

, 49

Arts Research Centre

, 129

Arts schools

, 9

Arts summer school

, 111–112

Austerity

, 2, 30

Austerity Britain/Brexit Britain

, 21

Authorship

, 89

Axis Arts Centre (AAC)

, 103–105, 107, 110, 112

conceptualised seasons of

, 102

model

, 113–114

Axis Autumn

, 112–113

Axis Spring

, 112–113

Black Lives Matter

, 166

Blended learning

, 170

Brexit

, 30, 72

Brexit-Blindness

, 2

British Academy (BA)

, 129

#BrokenRecord

, 164, 166

Business model innovation

, 157–159

C3 centre

, 136

C3 index

, 91–92

Carayannis Modes

, 148–149

Careful positioning process

, 87

Celebrity cultures

, 28–29

Centralised economic policies

, 168–169

Centre for Higher Education Futures (CHEF)

, 169–170

Civic Patronage

, 33

Civil society

, 155

Classical discourse analysis

, 14

Classical Patronage

, 33

Co-authorship

, 28

Co-creation

, 27–28, 44, 129, 132

innovation co-creation and engagement platforms

, 157–159

Co-ownership

, 28, 89

Co-production

, 27–28, 44, 89, 129, 132

Collaborations

, 27

Collectivism

, 20, 30, 47

‘Collectivistic’ approaches

, 30–31

Committed Patronage

, 33

Community arts

, 45–46, 55

Community outreach activities

, 111–112

Complexity

, 112–113

Connected Curriculum

, 88–89

Content

content-based regulatory constraints

, 74

knowledge

, 87

standardisation of

, 63

Content Integrated Research in Creative User Systems (CIRCUS)

, 124–125

Context

, 11, 16–18, 20

Continual professional development courses (CPD)

, 111–112

Cool Britannia

, 76

Cool Britannia/Creative Industries

, 21

Copyright

, 34

Correlation

, 95

Council for Encouragement of Music and Arts (CEMA)

, 37

Counter mainstream

, 35

COVID-19

, 1–4, 6–7, 30, 164, 166

COVID-19-related lockdowns

, 165

creative and cultural sectors before and after

, 162–167

recovery

, 166

Creative and cultural sectors before and after COVID-19

, 162–167

Creative economy

, 10, 79–80, 83–84, 92–94, 162–163, 169

Creative Europe

, 129

Creative industries

, 2–3, 9–10, 34, 76, 89, 121–122, 162, 165

Creative Industries Mapping Document

, 81–82, 85–86

Creative Industries Sector Deal

, 89

Creative Industries Task Force (CITF)

, 85, 121

Creative learning communities

, 3

Creative participation

, 11

Creative practitioners

, 76

Creative pull, practice-as-research and

, 126, 129

Creative subjects

, 2–3, 121–122, 163

Cross-disciplinary enquiries

, 144

Cross-fertilisation

, 10

Cultural activities

, 160

Cultural amenities mechanism

, 90

Cultural and Creative Cities Monitor

, 91

indicators of

, 93–94

Cultural and Creative Sectors (CCS)

, 90

Cultural canaries, arts policy as

, 49

Cultural democracy

, 5, 46, 59, 170

Cultural engagement

, 30–31, 35, 79

Cultural heritage

, 55–56

Cultural ideologies

, 39

Cultural immersion

, 11

Cultural participation

, 11, 90

Cultural Patronage

, 21

Cultural Political Economy (CPE)

, 5, 12, 15

CPE and example themes for arts in academia

, 22–23

full CPE framework used in arts and academia

, 24–26

imaginaries and lenses used within arts and academia

, 19

lenses

, 15, 17, 21

methodological frameworks

, 171

selectivities in

, 13

tableaus

, 17–18

Cultural sectors before and after COVID-19

, 162–167

‘Cultural turn’

, 14

Cultural vibrancy

, 10, 92

Cultural-oriented economics

, 59

Culture

, 1, 91, 167

art and

, 91

arts and

, 171–172

culture-related amenities

, 90

Culture 1. 0

, 11, 17–18, 20, 31, 33, 113

engagement model

, 114–115

link between innovation and cultural participation

, 33

patronage model

, 90

Culture 1. 2

, 32

Culture 2. 0

, 11, 18, 20, 34, 43

Culture 3. 0

, 5, 11, 15–16, 18, 20–21, 31, 44, 59, 89–90, 114, 154

conceptualisation of arts and culture

, 160

Culture and Democracy Manifesto

, 59

Curated Contemporary Practice

, 101

Decentralised economic policies

, 168–169

Department for Culture, Media and Sport (DCMS)

, 84–85, 163

Department of Contemporary Arts (DCA)

, 105

Department of National Heritage (DNH)

, 84–85

Departmental Resource

, 101

‘Deregulation’

, 65–66

Digital

arts

, 6

collaborative tools

, 48–49

connectivity

, 44, 76, 86

content production

, 44

innovation processes

, 124–125

mass reproducibility

, 82–83

media technicians

, 104

rights management

, 34–35

Diversion of resources

, 70

Documentation

, 110–111

Economies

, 2–3

El Sistema

, 28–29

‘Enabling Environment’

, 92

‘Engaged university’

, 88

Engineering and Physical Sciences Research Council (EPSRC)

, 129

Entrepreneurial Patronage

, 33

Entrepreneurship

, 1, 90

Environments

, 74–75

Erasmus+

, 129

Ethnomusicology

, 138

Etzkowitz’s model of university-industry-government partnership

, 88, 147

Europe

, 9–10, 72

art hubs in

, 3, 9

creative assets and innovation capacity

, 45

creative cities

, 91

crises in

, 6–7

Cultural and Creative Cities Monitor

, 96–97

and Culture 1. 0

, 17, 32

Culture 3. 0 and

, 154–155

Horizon Europe

, 160

innovation-led productivity

, 10

issue for

, 11

music and aesthetics in

, 116–117

European Capitals of Culture (ECoC)

, 96

European Frascati Manual

, 121–122

European Union Research Framework

, 10

‘Everyday creativity’

, 29–30

Excellence

, 20, 58, 150

Experimentation

, 10

Facilitation of learning

, 74

#FairPay

, 166

Fan ecologies

, 35

Festival of Britain

, 36

contrasting imagery between the festival and coronation

, 41

vs. coronation of Elizabeth II

, 41, 36

#FixStreaming

, 164

For-profit creative actors

, 35

Formalised partnership models

, 88

‘Freedom’

, 65–66

Full-Spectrum innovation

, 157–159

Furlough schemes

, 166–167

GDP

, 92–95

Gibbons Modes

, 148–150

Government

, 10, 38, 41, 51, 65–66, 79, 89, 121

arts schools and

, 9

COVID-19 crisis

, 4

cultural phenomena and

, 84

and HE sector

, 98

intervention in music education

, 28–29

labour

, 52

quadruple helix partnerships

, 10

university-industry-government partnership

, 88, 147

vision

, 85–86

Gross Value Added (GVA)

, 162

High Individualism

, 28, 30–31, 47

High-expectation entrepreneurship (HEE)

, 157–159

Higher Education (HE)

, 2–4, 61, 66–67, 98, 163

art education in

, 98–115

arts in

, 5–6

arts in

, 109

arts in

, 171

communities

, 4

futures

, 167–172

institutions

, 87–88

interdisciplinarity in

, 118

music in

, 117

policy

, 17

resist marketisation in HE

, 71

third cultures, or interdisciplinarity in

, 146–152

vulnerable disciplinary areas in

, 9

Higher Education Act of 1992

, 123

Horizon 2020

, 10

Horizon Europe

, 129

Hunger-Game austerity

, 2

Imaginaries

, 12–15

CPE concept of

, 20

Imaginary

, 18, 114–115

Immersive arts

, 89

Individualism

, 20, 30, 45, 171

Individualistic human survival skill

, 161–162

Industry

, 3–4, 9–10, 44–45, 48, 80, 83, 95, 99, 113, 129, 133, 147–148, 151–152, 166

Innovation

, 1, 11, 90, 155

approaches using mixed models

, 157–159

business model

, 157–159

full-Spectrum

, 157–159

innovation co-creation and engagement platforms

, 157–159

innovation-led productivity

, 10

intersectional

, 157–159

link between innovation and cultural participation

, 33

management of

, 157–159

openness to

, 157–159

quadruple helix

, 157–159

Salmelin’s evolution of

, 156

simultaneous technical and societal innovation

, 157–159

social

, 157–159

technological

, 43

Innovation ecosystem

, 10, 88

models

, 27

orchestration and management

, 157–159

Institutional innovations

, 170–171

Institutional policy

, 17

Institutionalism

, 14, 171

Institutions

, 3–5, 98, 101–102, 170

HE and FE

, 76

Intangible assets

, 10

Intellectual capital

, 157–159

Intellectual model of mind

, 117–118

Intellectual property

, 34

Intelligence

, 117–118

Interdisciplinarity

, 10, 146

in HE

, 118

in higher education

, 146–152

Interdisciplinary

enquiries

, 145

methodology

, 12–14

International Monetary Fund (IMF)

, 53

Interpretative case studies

, 12

Intersectional innovation

, 157–159

Intradisciplinary enquiries

, 144

‘Investiture of a monarch’

, 41

IP Industries

, 34

Isomorphism

, 69–70

Keynesianism

, 66

Knowledge

, 64, 98

content

, 87

economy

, 1, 11, 90

expanding knowledge domains

, 154–160

ownership

, 61–62

production

, 151–152, 160

production models

, 148

‘Knowledge patronage’ model

, 61–62

Labour

, 38

Labour Party Policy (1965)

, 50

Learning environments

, 98–99

Lenses

, 12, 15, 17

Leverhulme Trust (LT)

, 129

Local identity

, 1, 90

Mainstream Culture 2.0

, 35–36

Management of innovation

, 157–159

Market theory

, 71

Marketisation

, 66–67, 70–71

Marketisation neoliberalism

, 66–67

Marketised HE systems

, 66

Masters students

, 96

Meta-narratives

, 154–160

Methodological framework,

Methodological frameworks

, 5, 12, 14–15, 171

Methodology

, 12, 14, 18, 92

#MeToo campaigns

, 166

Modern musical aesthetics

, 116–117

Multidisciplinary enquiries

, 144–145

Music

, 128

and arts

, 121

education

, 28–29

in HE

, 117

psychology

, 138

studies

, 138

technology

, 137–138, 145–146

National Institute of Health Research (NIHR)

, 129

Neo-liberal conceptualised market economies

, 66

neo-liberal economic conceptualization effects on university sector

, 68

Neoliberalism

, 67

marketisation

, 66–67

Network effects

, 157–159

‘New Culture of Learning’

, 87

Non-linear knowledge production models

, 27

Non-traditional arts

, 45–46

Not-for-profit creative actors

, 35

Nuffield Foundation (NF)

, 129

Online learning

, 170

Open Innovation 2.0

, 154, 10–11, 76, 99

Salmelin’s evolution of innovation

, 156

snapshots of

, 157–159

Openness to innovation

, 157–159

Organisational dimensions

, 144

Pandemic

, 2, 9–10, 161–164, 167, 172

Participatory arts

, 45–46, 170

Partnerships

, 74

Formalised partnership models

, 88

partnership-rich learning ecosystems

, 74–75

university partnerships

, 11

university-industry-government partnership

, 88, 147

Patronage

, 11, 14–15, 17, 33, 51, 53, 58–59, 112–113

Perceived academic culture

, 117, 123

Perceived vocational culture

, 117

Performance disciplines

, 129

PhD

, 96, 105–106, 128

Policymaking

, 20–21

Political dimensions

, 144

Positioning

, 74, 87

Post pandemic

, 2–3

‘Post-disciplinary’

, 12–14

Post-pandemic Recovery

, 21

Practice Based Research

, 124

Practice-as-research (PaR)

, 122–123, 136–137

and creative pull

, 126, 129

culture around

, 141

Practice-based cultures

, 118, 123

Practice-oriented disciplines

, 129

Productivity

, 11

Public patronage

, 33, 58–59

Public university

, 87

Quadruple helix innovation

, 157–159

Quadruple helix partnerships

, 10

Quadruple helix systems

, 154

Quality

control

, 150–151

of learning environment

, 73

Quality assurance

process

, 66

product

, 63

Quasi-autonomous cultural assets

, 101

Quintuple helix partnership models

, 153–154

R&D

, 122

Realphilosophie

, 141

REF21 documents

, 129

Regional Arts Association

, 56–57

Research

, 5, 9–10, 12, 16, 20, 62–63, 72, 122, 136, 139

academia, research and

, 122–136

knowledge production systems

, 153–154

quality of

, 150

research-active academics

, 127

research-embedded learning

, 169

twenty-first century industrial research

, 157–159

university-housed research centre

, 136–146

Research Assessment Exercise (RAE)

, 119–120

Research Excellence Framework (REF)

, 119–120, 152–154

in United Kingdom

, 149–150

‘Research excellence’

, 150

Royal Society of Edinburgh (RSE)

, 129

Servitization

, 157–159

Shared value and vision

, 157–159

Shelton Trust

, 59

Simultaneous technical and societal innovation

, 157–159

Skills

, 64

Small and medium-sized companies (SMEs)

, 155

Social cohesions

, 1, 90

Social dimension

, 144

Social innovation

, 157–159

Social powerhouses

, 2–3

‘Social software’

, 1

Socially distributed knowledge

, 88, 148

Socially engaged arts

, 45–46

Society

, 2–4, 10, 16, 64, 72

arts and

, 17

cultural engagement in

, 36

meta-narratives, expanding knowledge domains and arts as intentionally curated interface between university and

, 154–160

participatory arts in

, 170

civil society

, 155

stratification in

, 92–95

well-being of

, 29–30

Spotify

, 163, 166

Standardisation of content

, 63

Strategic Patronage

, 33

Streaming services

, 163

Structural capital

, 157–159

Structural constraints

, 109

Subcultures

, 35

Sustainable intelligent living

, 157–159

Systematic musicology

, 138

Tableau

, 12, 15, 17–18, 36

arts policy as cultural canaries

, 49

Cool Britannia and Creative Industries

, 76

Festival of Britain vs. coronation of Elizabeth II

, 36

term occurrence in REF2014 impact case study titles

, 129

university-housed arts centre

, 102, 115, 122

university-housed research centre

, 136–146

Tangible assets

, 10

Teaching practices

, 61–62

Technological innovations

, 43

Telecinema

, 43

Third Culture

, 154

in higher education

, 146–152

thinking

, 141

TikTok

, 163

Trans-Atlantic Platform for Social Sciences and Humanities (TAP)

, 129

‘Trans-disciplinary’

, 12–14

Transdisciplinary enquiries

, 145

Triple helix model

, 147

Twenty-first century industrial research

, 157–159

UK Council for National Academic Awards (CNAA)

, 123

UK creative industries

, 121

UK Research and Innovation (UKRI)

, 129

UK Research Excellence Framework

, 127–128

United Kingdom

creative sector and

, 129

Research Excellence Frameworks in

, 149–150

Universities

, 1–2, 10, 64–65, 72, 87, 95–96, 98, 115–116

1992 Act of classing all polytechnics as

, 119

neo-liberal economic conceptualization effects on university sector

, 68

University

, 9, 109, 167–168

education

, 73

meta-narratives, expanding knowledge domains and arts as intentionally curated interface between university and society

, 154–160

partnerships

, 11

University 1. 0

, 61, 63, 73

University 2. 0

, 63, 73, 121–122

University 3. 0

, 5–6, 11, 15–16, 20–21, 73, 86, 99, 146

common concepts displaying characteristics of

, 75

University art schools

, 87–88

as drivers for cultural and economic growth+

, 90–98

University-Housed Arts Centre

, 102, 115–116, 122

University-Housed Arts Centre Agendas

, 100, 106

University-housed research centre

, 136–146

University-industry-government partnership

, 88, 147

User centricity

, 157–159

User experience

, 157–159

User Involvement

, 157–159

Vocational cultures

, 118, 123

Welfare

, 1, 90

Well-being

, 3–4, 6, 10–11, 32, 57–58, 95–96, 129, 133, 141, 163, 166–167

YouTube

, 163