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This study addresses a recognised need in workforce development, a committee of the Council of Australian University Librarians (CAUL) facilitated the establishment of the Value and Impact community of practice (the community) between 2016 and 2017. The aim of this study is to create a structure that allows staff in Australian and Aotearoa New Zealand university libraries to promote best practice and build common capability in planning, performance, evaluation and measurement across a range of activities.

Membership is extended to those with roles focusing on quality, standards, analytics, communications or marketing and those with an interest in developing their understanding of these topics. A core group of members play a guardianship role to oversee the operations and liaise with CAUL. In walking the talk, an annual survey gathers performance measures that are reported to CAUL with examples of benefits and shared initiatives. Feedback is used to improve the operations of the community and determine meeting topics. The data and manaakitanga (support and care for each other) have driven these librarians to meet regularly as a community.

Meetings offer a chance for a “round robin” to share practice and trouble shoot or cover a special topic with members or visiting experts presenting and facilitating discussion. At least 75% of the membership consistently report contact with other members outside of the meetings and that the community contributes to building their capability.

The community’s operating template and lessons learnt will be of value to those seeking to build community beyond a one-off professional development engagement.

This chapter explores two cases of small towns as creative places in the Galloway and Borders regions of Scotland. It considers and compares their cultural development, economic contributions, resilience and sustainability. The chapter uses prior works on policy, theory, and creative rural economies as conceptual framing.

The study is an empirical exploration, which used cultural observation as an interpretive method to undertake desk and field research in the two towns presented as cases, Wigtown (Scotland’s National Book Town) and Coldstream. It offers findings related to the effects of the COVID-19 pandemic on the creative sector; cultural identity branding; the roles of anchor attractions and events; policy; digital economy; and cultural inclusion or exclusion. The conclusion is that creative placemaking is a medium-to-long term activity involving community and joint entrepreneurship between stakeholders to demonstrate sustainability and resilience. However, creative places need to be or become distinctive in some respects for the ingredients and enabling factors of placemaking to combine and sustain effectively as a destination.

Existing Neighborhood Sustainability Assessment (NSA) tools such as “Leadership for Energy and Environmental Design - Neighborhood Development” (LEED-ND) and “Building Research Establishment Environmental Assessment Method” (BREEAM Communities) are widely criticized for a lack of transparency in the selection of indicators and an unbalanced focus on specific sustainability dimensions.

This paper asks how the expectations and use values of the professionals and residents involved in developing, designing, managing and living in a sustainable neighborhood can shape sustainability indicators that affect progress towards project goals. Taking as its focus The Sustainable City (TSC), a neighborhood in Dubai, United Arab Emirates (UAE), the paper develops data from in-depth, go-along interviews with 46 different actors.

Findings indicate that when given the opportunity to express their opinion, many actors will prioritize metrics different than the metrics dictated to the by sustainability experts and international rating systems. The findings suggest that NSA tools should place greater emphasis on local factors, public engagement and operational concerns.

The paper provides a method that any community can replicate to better understand the different use values of local actors and establish its own NSA tool. This can help experts learn how design, management and operational decisions interact to impact different dimensions of performance.

This paper recognizes sustainable neighborhoods as spaces with multiple identities. Hence, the indicators used to evaluate these neighborhoods need to be based on the expectations and use values of different actors. This paper proposes using the priorities of different local actors to reshape how these neighborhoods are assessed.

Our chapter focuses on the disconnect between economic and cultural policies and the needs of individual firms and creative industry professionals, all of which affect creative and cultural industry (CCI) entrepreneurship in the 21st century. After a review of selected policy trends and the overlooked role of creative industries in developing more sustainable liveable communities worldwide, we discuss recommendations by chapter authors in volumes 18A and 18B for useful policy actions, not only in and for their respective countries of study but also for other geographical contexts. Our particular focus is on how the CCIs have contributed to developing sustainable societies and meeting many targets of the Sustainable Development Goals. Thereafter, we provide an overview of the fifteen chapters distributed over five sections: ‘unusual and temporary places for CCI entrepreneurship’, ‘economic perspectives on CCI entrepreneurship’, ‘organising clustering of CCI entrepreneurs’, ‘cognitive aspects of doing CCI entrepreneurship’, and ‘social spaces and placemaking for CCI entrepreneurs’. Topics discussed include CCI entrepreneurship in rural areas (heritage entrepreneuring, book festivals), social work spaces, creativity and neuroentrepreneurship, strategic networking management for creatives, tensions from economic and artistic logics, collaboration challenges, street art and arts festivals. Countries considered include Estonia, Nigeria, Norway, South Africa, the United Kingdom, and Zimbabwe. We conclude the chapter with a selection of policy implications of chapters in both volumes 18A and 18B, and a research programme and manifesto for researchers to develop novel insights for policymakers, aimed at strengthening the important role of the CCIs in creating more liveable sustainable communities and economies.

The learning outcomes are as follows: to analyse the issue(s) presented within specific case study context (C4); to formulate solutions to identified issue(s) within specific case study context (C5); and to synthesise a group plan to solve issue(s) within specific case study context (A4).

In 2017, China proclaimed that it would no longer accept plastic waste for recycling, this was in-line with China’s Operation “National Sword” to review the quality of these plastic imports to ensure their recyclability. This sent shock waves through a now globalised recycling network, with China previously having imported 95% of the EUs and 70% of US plastics that had been collected for recycling. This plastic backlog was then diverted to South-East Asian nations, particularly Malaysia, which this case focuses the discussion upon. While the potential for significant economic benefits drew the attention of illegitimate and unscrupulous businessmen alike, the environmental degradation from the often, low technological recycling processes and even burning of low-grade plastics brought profound negative impacts. This case focuses upon, then Minister, Yeo Bee Yin who led the Ministry of Energy, Science, Technology, Environment and Climate Change, in which she took an active and aggressive stance in attempt to stop Malaysia becoming the dumping ground for the global plastic crisis.

This case is appropriate for final year undergraduate and any postgraduate degrees in Business.

Teaching notes are available for educators only.

CSS 4: Environmental Management.

This chapter offers a conceptual framework to explicate the current configurations of temporary art spaces in the United Kingdom and how they seek to support the interests of artists as self-employed individuals. This chapter begins with a review of the literature on artists’ (temporary) spaces. Next, we present a conceptual framework of the dimensions of temporary art spaces and explore how they support or hinder entrepreneurs in the cultural and creative industries to create and sustain their businesses and their wellbeing. The framework questions notions of temporary art space design that are often taken for granted by putting the most fundamental facets of the space (time and use) under a microscope. It can be used as a basis for future research into temporary art spaces and as a way to design better spaces that prioritise artists and their ways of working.