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The ever-changing educational landscape, exacerbated by recent events surrounding COVID, political and cultural unrest, necessitates educators who are antifragile, able to withstand pressures and thrive amidst uncertainty. To this end, the pilot study reported here aims to examine mathematics educators’ initial reflections on what it means to be a risk-taker in the classroom, what prevents them from engaging in instructional risks and what would support their instructional risk-taking.

The pilot study utilized interviews with participants, including four pre-service teachers who were enrolled at the university and seven in-service teachers who were employed on active PDS campuses within the school district.

Preliminary findings suggest teacher beliefs concerning risk-taking, the barriers to engaging in such behaviors and the support needed to be able to take instructional risks. Results highlight the role of school–university partnerships in cultivating a culture of risk-taking through active collaboration and dialogue.

These findings have important implications for universities and PDS partners engaged in preparing teachers for an educational field that is unpredictable and continually changing. Additional research should be completed in varying PDS settings.

Findings highlight the role of school–university partnerships in cultivating a culture of risk-taking through active collaboration and dialogue.

Educators are currently faced with an unprecedented instructional landscape. Antifragile, risk-taking teachers are needed who are adaptable and innovative, thus better equipped to enter the challenging and uncertain realities of education.

Aims to demonstrate how a foremost “Renaissance man”, Leonardo da Vinci, an artist who also fathered inventions by the score, was destined to have his conceptions remain largely either on paper or in his head.

Describes the creative work of a major polymath of the Italian Renaissance: Leonardo was painter, sculptor, designer, geometer, architect, natural scientist, anatomist, physiologist, diarist and sometime chronicler.

Leonardo was more than a painter and sculptor: he was a prolific inventor of tools, instruments, public works, even spectacles and occasionally entire festivals. Yet the author of so many novel contraptions, devices, systems and events left virtually no material trace of his inventiveness.

An analytical portrait enables the author to proffer some answers to the question of why Leonardo's non‐artistic bequest to civilization remains so intangible.

LEONARDO IS one of the enigmas of history. Known in his lifetime, and later almost solely as a painter, this was far from being the whole man. He did not think of himself as a painter only. While still a young man with his way to make in the world he wrote himself as follows:

This chapter argues that the ‘Friday afternoon’ approach to art education needs to change; the conversation needs to be more about art and the impact that it has had and continues to have. Children need to be surrounded by art to a greater extent and should be seen as multi-dimensional learners who can create art, acknowledging that they do not all think, and learn, the same ways. It is their unique characteristics that will help shape them as artists. This chapter uses the works of ‘The Masters’ to support the view that there is no right or wrong when creating art and that supporting students to understand that great art only stands out because it is different and does not follow preordained rules or styles is important. Visual Arts teaching should encourage personal judgment, subjectivity, and provide students the opportunities to find their unique voice and to have the confidence to use it.

Attempts to theorize the relationship between the informal and the illegal sectors of the economy. States that there are significant behavioural similarities. Proposes an emergent paradigm based on dual labour market theory to explain the similarites and differences in order to guide future research in each area. Applies the theory to the production and marketing of crack cocaine and shows how the model helps us to understand issues of exploitation and risk makagement within the drug market.

This second chapter provides a useful backdrop for understanding innovation beyond the conventional focus on mainstream technology and science by detailing the conceptual underpinnings of cultural innovation. First, the challenges of objectively assessing the worth of novel work in the various fields of art and architecture are explored through the philosophical views of beauty. Second, the strategies and models deployed over time by artists, patrons, and experts to characterize the merits of novelty in the creative fields are reviewed. Third, the economic principles that have been used to frame the value propositions associated with cultural innovations as articulated by cultural economists are explored.

Artistry has been suggested by many authors to be a characteristic of exemplary practitioners in any discipline; however, few have defined artistry, or described how it might be employed and developed. The purpose of this paper is to explain the role of artistry in practice and how it can be developed.

This paper explains the relevance of artistry to contemporary practice. The problems faced by today ' s practitioners are often filled with features such as ambiguity, uncertainty, and complexity. The paper suggests that, in the face of these features, practitioners may not be able to rely on historical solutions however powerful these may be. Artistry is explained as an alternative capability that allows practitioners to work effectively with difficult problems.

Artistry is not an exclusive talent. Instead, it is a learned, emergent capability that allows practitioners to integrate mastery and originality as the work. This integration is made possible through the development of a sophisticated knowledge system.

By revealing what artistic practice is and how it can be achieved, this paper gives practitioners a route to a creative and effective approach to practice.