This paper serves three purposes. First, it makes a case for seeing creativity as a key learning outcome in our times, and thus the core business of education. It then goes on to examine the nexus of creativity and pedagogy, showing the conceptual work done to demonstrate creativity as a learnable set of dispositions and capabilities. Finally and most importantly, the paper argues the value of a pedagogical approach the author calls "Meddling-in-the-Middle", in augmenting and enhancing the repertoires of "Sage-onthe-Stage" and "Guide-on-the-Side" in order to build students' creative capacity. Examples are given of what these meta-approaches might look like in relation to the teaching of Shakespeare. The author concludes by arguing the important connection between Meddling pedagogy and creative capacity building.

This article explores the pedagogical significance of recent shifts in scholarly attention away from first generation and towards second generation understandings of creativity. First generation or big 'C' creativity locates the creative enterprise as a complex set of behaviours and ideas exhibited by an individual, while second generation or small 'c' creativity locates the creative enterprise in the processes and products of collaborative and purposeful activity. Second generation creativity is gaining importance for a number of reasons: its acknowledged significance as a driver in the new or digital economy; recent clarification of the notion of 'creative capital'; the stated commitment of a growing number of universities to 'more creativity' as part of their declared vision for their staff and students; and, the recognition that the creative arts does not have a monopoly on creative capability. We argue that this shift allows more space for engaging with creativity as an outcome of pedagogical work in higher education. The article builds on the project of connecting 'creative capital' and university pedagogy that is already underway, assembling a number of principles from a wide range of scholarship, from computer modelling to social and cultural theorising. In doing so, it provides a framework for systematically orchestrating a 'creativity-enhancing' learning environment in higher education.

The twenty-first century demands not only that we learn new forms of social engagement but also that we unlearn habits that have been useful in the past but may no longer be valuable to the future. Teachers have 'un-learned' the role of Sage-on-the-stage as the dominent model of teaching, and the shift to Guide-on-the-side has served an important function in changing the focus of pedagogy from the teacher to the learner. However, Guide-on-the-side is no longer sufficient for our times. This paper argues the importance of a further shift to Meddler-in-the-middle. Meddler-in-the middle positions the teacher and student as mutually involved in assembling and dis-assembling cultural products. It re-positions teacher and student as co-directors and co-editors of their social world. Meddler-in-the-middle challenges more long-term notions of 'good' teaching in a number of ways. Specifically, it means: (1) less time giving instructions and more time spent being a usefully ignorant co-worker in the thick of the action; (2) less time spent being a custodial risk minimiser and more time spent being an experimenter and risktaker; (3) less time spent being a forensic classroom auditor and more time spent being a designer, editor and assembler; (4) less time spent being a counsellor and 'best buddy' and more time spent being a collaborative critic and authentic evaluator.Our teaching and learning habits are useful but they can also be deadly. They are useful when the conditions in which they work are predictable and stable. They are deadly if and when the bottom falls out of the stable social world in and for which we learn. According to Bauman (2004), this is not merely a future possibility -it is the contemporary social reality. This paper takes up Bauman's challenge to orthodox thinking about effective teaching in general, arguing the need for a more interventionist role for academic teachers and a greater emphasis on an experimental culture of learning, rather than a culture in which curriculum and pedagogy is fully 'locked in' in advance of engagement. The challenge for academic teachers is to promote and support a culture of teaching and learning that parallels a post-millennial social world in which supply and demand is neither linear nor stable, in which labour is shaped by complex patterns of anticipations, opportunities, time and space, and in which new combinations of 'creative' skills and abilities are increasingly in demand. 'Creative' futuresThe message from social commentators on workplace and social futures is that many of our young people will be employed in digitally enhanced environments where there are few transportable blueprints for project design and management.

All professional workers need to be developed. Moreover, there should be no end to this process-the true professional knows that learning is for life. I want to explore how these two propositions have come to be true for academics and other professional workers at the beginning of the new millennium, and with what effects. In

This article sets out reasons for arguing that creativity is not garnish to the roast of industry or of education—i.e. the reasoning behind Mihalyi Csikszentmihalyi's insistence that creativity is not only about elites but involves everyone. This article investigates three key domains—scholarship, commerce and learning—to argue the importance of moving creativity from the margins of formal education to its centre. First, the article elaborates the scholarly work being done to bring definitional clarity to the concept of creativity, moving it from the realm of mystery, serendipity and individual genius to a definitional field that is more amenable to analysis. It then provides evidence about the extent to which creative capacity is being understood to be a powerful economic driver, not simply the province of the arts and the hobbyist. Finally, it examines new learning theory and its implications for formal education, noting both the possibilities and pitfalls in preparing young people for creative workforce futures.

This paper provides an analysis of pedagogy as an erotic field. The complexity of pedagogy work is addressed in terms of what the notion of an ambiguous and duplicitous ‘erotics of pedagogy’ can contribute to our understanding of teaching and learning. I note the ambivalence of feminist and other progressive educators about desire and pleasure in pedagogy, and attempt to make a case for reclaiming the notions of pedagogical ‘erotics’ and ‘seduction’ away from the ‘merely malevolent’. I draw on literary criticism to provide new conceptualisations and some historical exemplars of pedagogical events. This analysis is then brought to bear on a terrain of current educational discourse. In this sense, the paper is attempting to introduce into educational scholarship ways of theorising pedagogical events that have been developing for some time in the humanities.

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Despite the burgeoning rhetoric from political, social and educational commentators regarding creativity and learning and teaching, there is a paucity of scalable and measurable examples of creativity-centric pedagogical practice. This paper makes an argument for the application of social network visualisations to inform and support creativity-enabling pedagogical practice. This paper first describes social networks and how they relate to creative capacities and learning as a social process. It then provides an initial case study of how social network analysis may be meaningfully applied to evaluate students' learning networks and creative capacities, and elaborates on how such an evaluative resource can allow educators to design and implement creativityenabling pedagogical practice. In so doing, this paper contributes conceptual, methodological and empirical advances that can take learning and teaching for creativity, particularly in higher education, beyond rhetoric towards more observable and measurable mainstream pedagogical practice.