The remote work revolution presents a unique opportunity for higher education institutions to reinvent themselves and become talent magnets. In Knowledge Towns, David J. Staley and Dominic D. J. Endicott argue that the location of a college or university is a necessary piece of any region's effort to attract remote knowledge workers and accelerate economic development and creative placemaking. Just as every town expects a church, bank branch, post office, and coffeehouse, Staley and Endicott write, we will see a decentralized network of institutions of higher education flourish, acting as cornerstones for the post-pandemic rebuilding of our society and economy. In calling for a "college in any town," they are not simply proposing placing a traditional college within a town or city, but envisioning instead a particular kind of higher education institution called a "knowledge enterprise." In addition to providing the services of a traditional college, a knowledge enterprise acts as a talent magnet, attracting workers looking to move to cheaper and more attractive destinations. With the post-COVID-19 shift to more remote work, and millions of people moving to more affordable and livable cities, a place that wants to attract talent will require a thriving academic environment. This represents a new opportunity for "town and gown" to create collaborative communities. The pandemic has accelerated existing trends that put at risk the viability of many colleges and universities, as well as that of many towns and cities. The talent magnet strategy outlined in this book offers colleges and towns a plan of action for regeneration.

Historical Imagination examines the threshold between what historians consider to be proper, imagination-free history and the malpractice of excessive imagination, asking where the boundary between the two sits and the limits of permitted imagination for the historian. We use "imagination" to refer to a mental skill that encompasses two different tasks: the reconstruction of previously experienced parts of the world and the creation of new objects and experiences with no direct connection to the actual world. In history, imagination means using the mind's eye to picture both the actual and inactual at the same time. All historical works employ at least some creative imagination, but an excess is considered "too much". Under what circumstances are historians permitted to cross this boundary into creative imagination and how far can they go? Supporting theory with relatable examples, Staley shows how historical works are a complex combination of mimetic and creative imagination and offers a heuristic for assessing this ratio in any work of history. Setting out complex theoretical concepts in an accessible and understandable manner and encouraging the reader to consider both the nature and limits of historical imagination, this is an ideal volume for students and scholars of the philosophy of history.

This visionary and thoroughly accessible book examines how digital environments and virtual reality have altered the ways historians think and communicate ideas and how the new language of visualization transforms our understanding of the past. Drawing on familiar graphic models--maps, flow charts, museum displays, films--the author shows how images can often convey ideas and information more efficiently and accurately than words. With emerging digital technology, these images will become more sophisticated, manipulable, and multidimensional, and provide historians with new tools and environments to construct historical narratives. Moving beyond the traditional book based on linear narrative, digital scholarship based on visualization and hypertext will offer multiple perspectives, dimensions, and experiences that transform the ways historians work and people imagine and learn about history. This second edition of Computers, Visualization, and History features expanded coverage of such topics as sequential narratives, 3-D modeling, simulation, and video games, as well as our theoretical understanding of space and immersive experience. The author has also added "Guidelines for Visual Composition in History" for history and social studies teachers who wish to use technology for student assignments. Also new to the second edition is a web link feature that users of the digital edition can use to enhance visualization within the text.

This visionary and thoroughly accessible book examines how digital environments and virtual reality have altered the ways historians think and communicate ideas and how the new language of visualization transforms our understanding of the past. Drawing on familiar graphic models--maps, flow charts, museum displays, films--the author shows how images can often convey ideas and information more efficiently and accurately than words. With emerging digital technology, these images will become more sophisticated, manipulable, and multidimensional, and provide historians with new tools and environments to construct historical narratives. Moving beyond the traditional book based on linear narrative, digital scholarship based on visualization and hypertext will offer multiple perspectives, dimensions, and experiences that transform the ways historians work and people imagine and learn about history. This second edition of Computers, Visualization, and History features expanded coverage of such topics as sequential narratives, 3-D modeling, simulation, and video games, as well as our theoretical understanding of space and immersive experience. The author has also added "Guidelines for Visual Composition in History" for history and social studies teachers who wish to use technology for student assignments. Also new to the second edition is a web link feature that users of the digital edition can use to enhance visualization within the text.

Historical Imagination examines the threshold between what historians consider to be proper, imagination-free history and the malpractice of excessive imagination, asking where the boundary between the two sits and the limits of permitted imagination for the historian. We use "imagination" to refer to a mental skill that encompasses two different tasks: the reconstruction of previously experienced parts of the world and the creation of new objects and experiences with no direct connection to the actual world. In history, imagination means using the mind's eye to picture both the actual and inactual at the same time. All historical works employ at least some creative imagination, but an excess is considered "too much". Under what circumstances are historians permitted to cross this boundary into creative imagination and how far can they go? Supporting theory with relatable examples, Staley shows how historical works are a complex combination of mimetic and creative imagination and offers a heuristic for assessing this ratio in any work of history. Setting out complex theoretical concepts in an accessible and understandable manner and encouraging the reader to consider both the nature and limits of historical imagination, this is an ideal volume for students and scholars of the philosophy of history.

Perhaps the most important histiographic innovation of the twentieth century was the application of the historical method to wider and more expansive areas of the past. Where historians once defined the study of history strictly in terms of politics and the actions and decisions of Great Men, historians today are just as likely to inquire into a much wider domain of the past, from the lives of families and peasants, to more abstract realms such as the history of mentalities and emotions. Historians have applied their method to a wider variety of subjects; regardless of the topic, historians ask questions, seek evidence, draw inferences from that evidence, create representations, and subject these representations to the scrutiny of other historians. This book severs the historical method from the past altogether by applying that method to a domain outside of the past. The goal of this book is to apply history-as-method to the study of the future, a subject matter domain that most historians have traditionally and vigorously avoided. Historians have traditionally rejected the idea that we can use the study of history to think about the future. The book reexamines this long held belief, and argues that the historical method is an excellent way to think about and represent the future. At the same time, the book asserts that futurists should not view the future as a scientist might-aiming for predictions and certainties-but rather should view the future in the same way that an historian views the past.

Perhaps the most important histiographic innovation of the twentieth century was the application of the historical method to wider and more expansive areas of the past. Where historians once defined the study of history strictly in terms of politics and the actions and decisions of Great Men, historians today are just as likely to inquire into a much wider domain of the past, from the lives of families and peasants, to more abstract realms such as the history of mentalities and emotions. Historians have applied their method to a wider variety of subjects; regardless of the topic, historians ask questions, seek evidence, draw inferences from that evidence, create representations, and subject these representations to the scrutiny of other historians. This book severs the historical method from the past altogether by applying that method to a domain outside of the past. The goal of this book is to apply history-as-method to the study of the future, a subject matter domain that most historians have traditionally and vigorously avoided. Historians have traditionally rejected the idea that we can use the study of history to think about the future. The book reexamines this long held belief, and argues that the historical method is an excellent way to think about and represent the future. At the same time, the book asserts that futurists should not view the future as a scientist might-aiming for predictions and certainties-but rather should view the future in the same way that an historian views the past.

Imagining the universities of the future. How can we re-envision the university? Too many examples of what passes for educational innovation today-MOOCs especially-focus on transactions, on questions of delivery. In Alternative Universities, David J. Staley argues that modern universities suffer from a poverty of imagination about how to reinvent themselves. Anyone seeking innovation in higher education today should concentrate instead, he says, on the kind of transformational experience universities enact. In this exercise in speculative design, Staley proposes ten models of innovation in higher education that expand our ideas of the structure and scope of the university, suggesting possibilities for what its future might look like. What if the university were designed around a curriculum of seven broad cognitive skills or as a series of global gap year experiences? What if, as a condition of matriculation, students had to major in three disparate subjects? What if the university placed the pursuit of play well above the acquisition and production of knowledge? By asking bold "What if?" questions, Staley assumes that the university is always in a state of becoming and that there is not one "idea of the university" to which all institutions must aspire. This book specifically addresses those engaged in university strategy-university presidents, faculty, policy experts, legislators, foundations, and entrepreneurs-those involved in what Simon Marginson calls "university making." Pairing a critique tempered to our current moment with an explanation of how change and disruption might contribute to a new "golden age" for higher education, Alternative Universities is an audacious and essential read.