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Foreword; References; Contents; Chapter 1: Introduction to: Arts, Research, Innovation, and Society (ARIS); Chapter 2: Fighting Creative Illiteracy; 2.1 What Has Happened to Our Societies?; 2.2 Art Meets Science Meets Arts; 2.3 Innovation and Arts; 2.4 The Limits of a Knowledge Society; 2.5 The Renaissance of Renaissance; 2.6 So What?; 2.7 Mind the Focus; Chapter 3: Art and Artistic Research in Quadruple and Quintuple Helix Innovation Systems; 3.1 Introduction: Artistic Research and the Research Question of Our Analysis; 3.2 Arts and Artistic Research
3.3 Innovation Systems in Conceptual Evolution: Mode 3 Knowledge Production in Quadruple and Quintuple Helix Innovation SystemsConclusion: The Program of Arts, Research, Innovation, and Society (ARIS); References; Chapter 4: The Culture of Information and the Information of Culture; 4.1 What Is Culture; 4.2 The Culture of Information Definitions; 4.3 Implications of Culture of Information; Concluding Remarks; References; Chapter 5: Art, Research and Society: New Ecology: The Affective Power; 5.1 Art, Research and Society: Why Brought It Up Again and Now?; 5.2 Does Art Matter; 5.2.1 On Economy
5.2.2 On Social Development5.2.3 On Education; 5.2.4 On Health; 5.2.4.1 The Arts Improve Physical Health; 5.2.4.2 The Arts Improve Psychological Well-Being; 5.2.5 On Community; 5.3 What of Art and Science Have to Do with Each Other?; 5.3.1 What Are Art and Techno-scientific Research in Common?; 5.3.2 The Affective Power of Art on Techno- scientific Research; 5.3.3 Science and Technology on Art; 5.4 What Will Be the Next?; 5.5 How We Know?; References; Chapter 6: Crossing Thresholds: Artistic Practice in Times of Research; 6.1 Introduction; 6.2 A Transformed Learning Landscape
6.3 Moving Thresholds6.4 De-centered Encyclopedia; 6.5 dis-positiv: The Artist, the Curator, and Their Discourse; 6.6 The Artist as a Theorist; 6.7 Tectonic Shifts; 6.8 Every Work of Art Is a Work of Art In the World of Art; 6.9 Cultural Agency; References; Chapter 7: A 3D ``T-shaped℗þ℗þ Design Education Framework; 7.1 The Changes of Design; 7.2 Three Dimensions: Profession, Value and Approach; 7.3 T-shape: The Combination of Vertical and Horizontal Knowledge; 7.4 Connecting Vertical and Horizontal Knowledge; 7.5 From Undergraduate to PhD: A 3D T-shaped Educational Framework
7.6 The Resilience of T-shape and the Knowledge CubeConcluding Remarks; References; Chapter 8: The Heterodox Pedagogy: Hackerspaces and Collaborative Education in Design; 8.1 Part I: BioMap City of 11 Billion People in 2110: Bioinformatics Beyond Buckminster Fuller; 8.2 Part II: Hackers Spaces and Synthetic Biological Design; 8.2.1 Restructuring Investigative Goals; 8.2.2 The Act of Making; 8.2.3 Clinical Material Explorations and Biodesign; 8.2.4 Adaptive Work Environments; 8.3 Part III. The Future of Collaborative Education: Global Architecture and Design; Project Credits
3.3 Innovation Systems in Conceptual Evolution: Mode 3 Knowledge Production in Quadruple and Quintuple Helix Innovation SystemsConclusion: The Program of Arts, Research, Innovation, and Society (ARIS); References; Chapter 4: The Culture of Information and the Information of Culture; 4.1 What Is Culture; 4.2 The Culture of Information Definitions; 4.3 Implications of Culture of Information; Concluding Remarks; References; Chapter 5: Art, Research and Society: New Ecology: The Affective Power; 5.1 Art, Research and Society: Why Brought It Up Again and Now?; 5.2 Does Art Matter; 5.2.1 On Economy
5.2.2 On Social Development5.2.3 On Education; 5.2.4 On Health; 5.2.4.1 The Arts Improve Physical Health; 5.2.4.2 The Arts Improve Psychological Well-Being; 5.2.5 On Community; 5.3 What of Art and Science Have to Do with Each Other?; 5.3.1 What Are Art and Techno-scientific Research in Common?; 5.3.2 The Affective Power of Art on Techno- scientific Research; 5.3.3 Science and Technology on Art; 5.4 What Will Be the Next?; 5.5 How We Know?; References; Chapter 6: Crossing Thresholds: Artistic Practice in Times of Research; 6.1 Introduction; 6.2 A Transformed Learning Landscape
6.3 Moving Thresholds6.4 De-centered Encyclopedia; 6.5 dis-positiv: The Artist, the Curator, and Their Discourse; 6.6 The Artist as a Theorist; 6.7 Tectonic Shifts; 6.8 Every Work of Art Is a Work of Art In the World of Art; 6.9 Cultural Agency; References; Chapter 7: A 3D ``T-shaped℗þ℗þ Design Education Framework; 7.1 The Changes of Design; 7.2 Three Dimensions: Profession, Value and Approach; 7.3 T-shape: The Combination of Vertical and Horizontal Knowledge; 7.4 Connecting Vertical and Horizontal Knowledge; 7.5 From Undergraduate to PhD: A 3D T-shaped Educational Framework
7.6 The Resilience of T-shape and the Knowledge CubeConcluding Remarks; References; Chapter 8: The Heterodox Pedagogy: Hackerspaces and Collaborative Education in Design; 8.1 Part I: BioMap City of 11 Billion People in 2110: Bioinformatics Beyond Buckminster Fuller; 8.2 Part II: Hackers Spaces and Synthetic Biological Design; 8.2.1 Restructuring Investigative Goals; 8.2.2 The Act of Making; 8.2.3 Clinical Material Explorations and Biodesign; 8.2.4 Adaptive Work Environments; 8.3 Part III. The Future of Collaborative Education: Global Architecture and Design; Project Credits