In New South Wales, and Australia more broadly, we are on the precipice of a massive transformation of schooling and the assumptions around the education of children. This transformation is focussed on equity and the personalisation of the schooling process. These engaging learning centres will allow students to take ownership for their own education, have autonomy and agency, and where passion is encouraged. Teachers in these new school designs become facilitators who encourage and support students’ individual journeys

David Smith explores the development of a new hybrid learning framework designed to assist lecturers in the planning and teaching of their subjects, and in engaging students with the course material online.

Kellie Bousfield discusses how the education system feeds into the “choice” parents make. In Australia, and elsewhere, the system doesn’t favour academic merit, but parental wealth and instead of meritocracy, we see a parentocracy – the actions and wealth of parents act as key determinants of a child’s academic success.

Frederik Anseel discusses the impact of leaders' motivational strivings on employee burnout.

Catherine Carden discusses whether teacher sare incorrect to expect to establish a 'perfect' balance between their work and personal life.

What do we mean by ‘twentieth-century music’? And how are we to square this with the musics of a twenty-first century that is now nearing the end of its second decade? Roger Redgate graduated at the Royal College of Music, where he won prizes for composition, violin performance, harmony and counterpoint, studying composition with Edwin Roxburgh and electronic music with Lawrence Casserley. A DAAD scholarship enabled him to study with Brian Ferneyhough and Klaus Huber in Freiburg. From 1989 to 1992 he was Northern Arts Composer Fellow, he has lectured at Durham and Newcastle Universities. He was invited as guest composer and conductor at the Darmstädter Ferienkurse für Neue Musik in 1984, 1986, 1988, 1990, 1992 and 1994 where he received the Kranichsteiner Musikpreis for composition. He is conductor and artistic director of Ensemble Exposé, with whom he has performed at many European festivals and on BBC Radio 3 and recently released a CD of music by Brian Ferneyhough.He has worked in the fields of jazz, improvised music, film and television (including programmes for the BBC and Channel 4), and performance art. His compositions have been performed extensively throughout Europe, Australia and the USA and he has received commissions from the BBC, the French Ministry of Culture, the Darmstädter Ferienkurse für Neue Musik, the Venice Biennale and Ensemble 21 New York. He has published articles on music and culture, the music of Brian Ferneyhough and Michael Finnissy, including a chapter in the book Uncommon Ground: The Music of Michael Finnissy.

'Post-truth’ was Oxford Dictionaries 2016 word of the year. While the term was coined by its disparagers in the light of the Brexit and US presidential campaigns, the roots of post-truth lie deep in the history of Western social and political theory.

Monica Biagioli discusses The Case for Informal Spaces in the Workplace