John Richards – författare

The 60-Year Curriculum explores models and strategies for lifelong learning in an era of profound economic disruption and reinvention. Over the next half-century, globalization, regional threats to sustainability, climate change, and technologies such as artificial intelligence and data mining will transform our education and workforce sectors. In turn, higher education must shift to offer every student life-wide opportunities for the continuous upskilling they will need to achieve decades of worthwhile employability. This cutting-edge book describes the evolution of new models—covering computer science, inclusive design, critical thinking, civics, and more—by which universities can increase learners’ trajectories across multiple careers from mid-adolescence to retirement. Stakeholders in workforce development, curriculum and instructional design, lifelong learning, and higher and continuing education will find a unique synthesis offering valuable insights and actionable next steps.

The 60-Year Curriculum explores models and strategies for lifelong learning in an era of profound economic disruption and reinvention. Over the next half-century, globalization, regional threats to sustainability, climate change, and technologies such as artificial intelligence and data mining will transform our education and workforce sectors. In turn, higher education must shift to offer every student life-wide opportunities for the continuous upskilling they will need to achieve decades of worthwhile employability. This cutting-edge book describes the evolution of new models—covering computer science, inclusive design, critical thinking, civics, and more—by which universities can increase learners’ trajectories across multiple careers from mid-adolescence to retirement. Stakeholders in workforce development, curriculum and instructional design, lifelong learning, and higher and continuing education will find a unique synthesis offering valuable insights and actionable next steps.

This book investigates two areas in which the appreciation of sonic creativity can be easily acquired across diverse cultures, ages and interests: the music of sounds – making music with any sounds, part of today’s sampling culture and the music of things – and the creation of instruments using existent materials (another type of sampling?) involving the notion of ‘instrument as composition’ as part of today’s DIY (or DIT, do it together) culture.

The book offers broad discussions regarding the music of things (written by John Richards) followed by the music of sounds (written by Leigh Landy). These chapters are followed by a focus on the workshop demonstrating the collaborative and inclusive potential in both areas, and a spotlight on eight artists with a broad diversity of backgrounds and approaches to sound and music who discuss their perceptions. The book’s conclusion focuses on similarities and differences between the music of sounds and the music of things, suggesting, finally, that both might form part of the 21st- century’s folk music landscape.

The book is primarily aimed towards students interested in current forms of sonic creativity but will be of interest to those interested in broader issues of sampling culture, hacking and sound studies.

This book investigates two areas in which the appreciation of sonic creativity can be easily acquired across diverse cultures, ages and interests: the music of sounds – making music with any sounds, part of today’s sampling culture and the music of things – and the creation of instruments using existent materials (another type of sampling?) involving the notion of ‘instrument as composition’ as part of today’s DIY (or DIT, do it together) culture.

The book offers broad discussions regarding the music of things (written by John Richards) followed by the music of sounds (written by Leigh Landy). These chapters are followed by a focus on the workshop demonstrating the collaborative and inclusive potential in both areas, and a spotlight on eight artists with a broad diversity of backgrounds and approaches to sound and music who discuss their perceptions. The book’s conclusion focuses on similarities and differences between the music of sounds and the music of things, suggesting, finally, that both might form part of the 21st- century’s folk music landscape.

The book is primarily aimed towards students interested in current forms of sonic creativity but will be of interest to those interested in broader issues of sampling culture, hacking and sound studies.