Creative Output is a teacher's resource book for the most challenging stage of an ESL/EFL lesson - the production stage. Within these pages, you will find a diverse range of speaking and writing activities for fluency practice. In addition, this book describes the essential qualities of effective speaking and writing activities and shows how they fit into a successful lesson. ----- "This book is truly a must-have for any language teachers keen on fostering spoken and written fluency in a fun and engaging way across the whole age and ability spectrum. This little masterpiece offers a wide range of ingenious low prep / high impact tasks that fuel creativity whilst challenging the learner in a principled way. Part A, in which the authors discuss their sound pedagogic approach to promoting creative output in the oral and written medium, is a real gem of wisdom and clarity which pre-service and novice teachers will particularly benefit from. I strongly recommend this book." - Gianfranco Conti, PhD. co-author of the bestselling book 'The Language Teacher toolkit', winner of the 2015 TES best resource contributor award, founder of www.language-gym.com, and former Oxford University researcher
Introducing an important new expression of management science called the Theory of Constraints (TOC), this book helps busy executives and professionals quickly learn and implement TOC principles. Introduction to the Theory of Constraints (TOC) Management System organizes several proven TOC principles, processes, and solutions into a TOC management system that has been successfully applied to everything from manufacturing industries to health care. The Theory of Constraints is based on the scientific method that has been developed and refined for nearly three decades by Dr. Eli Goldratt. The TOC management system offers management techniques that are sound, practical, and can be applied to nearly every company, project, or personal endeavor imaginable. It has created fundamentally new ways of managing, and has dramatically improved the ability of hundreds of thousands of individuals to make smart decisions on a daily basis. If you've read Eli Goldratt's bestselling books and wondered how to put his ideas to work, Introduction to the Theory of Constraints (TOC) Management System tells what TOC is, where it came from, who uses it, and how to get started with it.
A comprehensive and multidisciplinary view of the emerging paradigm of user and open innovation, offering both theoretical and empirical perspectives. The last two decades have witnessed an extraordinary growth of new models of managing and organizing the innovation process that emphasizes users over producers. Large parts of the knowledge economy now routinely rely on users, communities, and open innovation approaches to solve important technological and organizational problems. This view of innovation, pioneered by the economist Eric von Hippel, counters the dominant paradigm, which cast the profit-seeking incentives of firms as the main driver of technical change. In a series of influential writings, von Hippel and colleagues found empirical evidence that flatly contradicted the producer-centered model of innovation. Since then, the study of user-driven innovation has continued and expanded, with further empirical exploration of a distributed model of innovation that includes communities and platforms in a variety of contexts and with the development of theory to explain the economic underpinnings of this still emerging paradigm. This volume provides a comprehensive and multidisciplinary view of the field of user and open innovation, reflecting advances in the field over the last several decades. The contributors—including many colleagues of Eric von Hippel—offer both theoretical and empirical perspectives from such diverse fields as economics, the history of science and technology, law, management, and policy. The empirical contexts for their studies range from household goods to financial services. After discussing the fundamentals of user innovation, the contributors cover communities and innovation; legal aspects of user and community innovation; new roles for user innovators; user interactions with firms; and user innovation in practice, describing experiments, toolkits, and crowdsourcing, and crowdfunding. Contributors Efe Aksuyek, Yochai Benkler, James Bessen, Jörn H. Block, Annika Bock, Helena Canhão, Jeroen P. J. de Jong, Emmanuelle Fauchart, Dominique Foray, Nikolaus Franke, Johann Füller, Helena Garriga, Fred Gault, Fredrik Hacklin, Dietmar Harhoff, Joachim Henkel, Cornelius Herstatt, Christoph Hienerth, Venkat Kuppuswamy, Karim R. Lakhani, Christopher Lettl, Christian Lüthje, Ethan Mollick, Hidehiko Nishikawa, Alessandro Nuvolari, Susumu Ogawa, Pedro Oliveira, Stefan Perkmann Berger, Frank Piller, Christina Raasch, Susanne Roiser, Fabrizio Salvador, Pamela Samuelson, Tim Schweisfurth, Sonali K. Shah, Christoph Stockstrom, Katherine J. Strandburg, Stefan Thomke, Andrew W. Torrance, Mary Tripsas, Georg von Krogh
IDEO founder and Stanford d.school creator David Kelley and his brother Tom Kelley, IDEO partner and the author of the bestselling The Art of Innovation, have written a powerful and compelling book on unleashing the creativity that lies within each and every one of us. Too often, companies and individuals assume that creativity and innovation are the domain of the "creative types." But two of the leading experts in innovation, design, and creativity on the planet show us that each and every one of us is creative. In an incredibly entertaining and inspiring narrative that draws on countless stories from their work at IDEO, the Stanford d.school, and with many of the world's top companies, David and Tom Kelley identify the principles and strategies that will allow us to tap into our creative potential in our work lives, and in our personal lives, and allow us to innovate in terms of how we approach and solve problems. It is a book that will help each of us be more productive and successful in our lives and in our careers.
Creative and cultural industries, broadly defined, are now considered by many policy makers across Europe at the heart of their national innovation and economic development agenda. Similarly, many European cities and regions have adopted policies to support and develop these industries and their local support infrastructures. However this policy-making agenda implicitly incorporates (and indeed often conflates) elements of cultural and creative industries, the creative class and so on, which are typically employed without due consideration of context. Thus a better understanding is required. To this end, this book features eight research papers, split evenly with regard to geographical focus between the UK and continental Europe (the latter covering Spain, Germany, France, Luxemburg and Belgium individually and in combination). There is also a similar division in terms of those focusing primarily on the policy level (the chapters of Clifton and Macaulay, Mould and Comunian, Pareja-Eastaway and Pradel i Miquel, Perrin) and those of the individual creative actor (the chapters of Alfken et al, Bennett et al, Wedemeier and Brown). This book was previously published as a special issue of European Planning Studies.
Creativity, Trauma, and Resilience is an examination of creativity and its ability to foster meaning, purpose, and a deeper sense of connection. This is particularly important for individuals who experience higher doses of childhood and adult trauma and who may be contending with the residual effects of terror and uncertainty. Paula Thomson and S. Victoria Jaque outline psychological, physiologic, and neurobiological effects of early attachment ruptures, childhood adversity, adult trauma, and trauma-related factors, and explore how the potential negative trajectory of adversity can be countered by resilience, self-regulation, posttraumatic growth, and factors that promote creativity.
Containing cutting-edge research the Handbook of Research on Creativity will strongly appeal to academics and advanced students in cultural studies, creative industries, art history and theory, experimental music and performance studies, digital and ne
Today's workers spend upwards of 80% of their time collaborating and teams have become the fundamental unit within organizations. Creative Success in Teams summarizes for practitioners and researchers what drives team creativity. Utilizing research from psychology, organizational behavior/management, business, and education, the book discusses how best to start, manage, and foster creativity in team environments, how to encourage participation and collaboration, what makes for the most creative team, and how best to lead and evaluate creative teams. - Summarizes creativity research from psychology, education, and business - Identifies how best to form a team for creative output - Discusses how to foster team participation and collaboration - Includes multicultural, interdisciplinary, and diverse teams
Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, and the role of public policy. Following the appearance of the Baumol and Bowen work, interest in the economics of the arts grew steadily, embracing areas such as demand for the arts, the economic functions of artists, the role of the nonprofit sector, and other areas. Cultural economics also expanded to include the cultural or entertainment industries (the media, movies, the publishing industry, popular music), as well as heritage and museum management, property right questions (in particular copyright) and the role of new communication technologies such as the internet. The field is therefore located at the crossroads of several disciplines: economics and management, but also art history, art philosophy, sociology and law. The Handbook is placed firmly in economics, but it also builds bridges across these various disciplines and will thus be of interest to researchers in all these different fields, as well as to those who are engaged in cultural policy issues and the role of culture in the development of our societies. *Presents an overview of the history of art markets *Addresses the value of art and consumer behavior toward acquiring art *Examines the effect of art on economies of developed and developing countries around the world
From one of the world’s leading data scientists, a landmark tour of the new science of idea flow, offering revolutionary insights into the mysteries of collective intelligence and social influence If the Big Data revolution has a presiding genius, it is MIT’s Alex “Sandy” Pentland. Over years of groundbreaking experiments, he has distilled remarkable discoveries significant enough to become the bedrock of a whole new scientific field: social physics. Humans have more in common with bees than we like to admit: We’re social creatures first and foremost. Our most important habits of action—and most basic notions of common sense—are wired into us through our coordination in social groups. Social physics is about idea flow, the way human social networks spread ideas and transform those ideas into behaviors. Thanks to the millions of digital bread crumbs people leave behind via smartphones, GPS devices, and the Internet, the amount of new information we have about human activity is truly profound. Until now, sociologists have depended on limited data sets and surveys that tell us how people say they think and behave, rather than what they actually do. As a result, we’ve been stuck with the same stale social structures—classes, markets—and a focus on individual actors, data snapshots, and steady states. Pentland shows that, in fact, humans respond much more powerfully to social incentives that involve rewarding others and strengthening the ties that bind than incentives that involve only their own economic self-interest. Pentland and his teams have found that they can study patterns of information exchange in a social network without any knowledge of the actual content of the information and predict with stunning accuracy how productive and effective that network is, whether it’s a business or an entire city. We can maximize a group’s collective intelligence to improve performance and use social incentives to create new organizations and guide them through disruptive change in a way that maximizes the good. At every level of interaction, from small groups to large cities, social networks can be tuned to increase exploration and engagement, thus vastly improving idea flow. Social Physics will change the way we think about how we learn and how our social groups work—and can be made to work better, at every level of society. Pentland leads readers to the edge of the most important revolution in the study of social behavior in a generation, an entirely new way to look at life itself.
