The Creativity Reader brings together a prestigious group of international experts who were tasked with choosing, introducing, and commenting on seminal texts focused on creativity, invention, genius, and imagination from the period of 1850 to 1950. This volume is at once retrospective and prospective: it revisits old ideas, assesses their importance today, and explores their potential for the future.
Book advocate Colby Sharp presents more than forty beloved, award-winning, diverse and bestselling authors and illustrators in a creative challenge! Colby Sharp invited more than forty authors and illustrators to provide story starters for each other; photos, drawings, poems, prose, or anything they could dream up. When they received their prompts, they responded by transforming these seeds into any form of creative work they wanted to share. The result is a stunning collection of words, art, poetry, and stories by some of our most celebrated children book creators. A section of extra story starters by every contributor provides fresh inspiration for readers to create works of their own. Here is an innovative book that offers something for every kind of reader and creator!
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
Describes the holistic creative practice while explaining how it can particularly benefit women, describes how female creative processes differ from those of men, and offers exercises on developing and focusing creativity. Original. Tour. IP.
The need to know why as well as how children and youth respond as they do to reading instruction has guided the selection of this book’s content. The second edition of this title, originally published in 1990, has retained and elaborated upon the three major themes previously presented: that reading is a linguistic process; that motivation, the affective domain, may be as important in learning to read as the cognitive domain; and that the reality of learning theory is to be found in the mechanisms of the brain where information is mediated and memory traces are stored. The text integrates views from cognitive psychology, psycholinguistics, and neuropsychology as they relate to reading and writing. A learning-motivation model is provided to present associative learning, conceptualization, and self-directed reading in a hierarchical relationship with distinct cognitive and affective components. The distinction between beginning and proficient reading is maintained throughout the text.
The Creativity Reader is a necessary companion for anyone interested in the historical roots of contemporary ideas about creativity, innovation, and imagination. It brings together a prestigious group of international experts who were tasked with choosing, introducing, and commenting on seminal texts focused on creativity, invention, genius, and imagination from the period of 1850 to 1950. This volume is at once retrospective and prospective: it revisits old ideas, assesses their importance today, and explores their potential for the future. Through its wide historical focus, this Reader challenges the widespread assumption that creativity research is mainly a product of the second half of the twentieth century. Featuring primary sources interpreted through the lenses of leading contemporary scholars, The Creativity Reader testifies to the incredible richness of this field of study, helps us understand its current developments, and anticipates its future directions. The texts included here, many of them little known or forgotten, are part of the living history of creativity studies. Indeed, an examination of these seminal papers helps the new generation of creativity and innovation researchers to be mindful of the past and unafraid to explore it.
Today, information and technological developments grow at a rapid pace. Social and political life becomes more and more complicated and, in this process, active citizenship becomes more essential. Knowledge-driven changes in society and economies require individuals to quickly acquire new skills. Otherwise, it is increasingly difficult for employees to adapt to business life and to find a job. Education has to take account of these circumstances, adapt to the rapid developments in the world and educate individuals to continue lifelong learning. For this, skills such as active and independent learning, assertiveness, creativity, self-improvement, lifelong learning are important. Skill teaching differs from knowledge teaching. Skill is the transfer of knowledge to practice. This process involves a learning process that requires the steps of researching, planning, controlling and correcting. The knowledge should be organized, integrated, transferred into practice, mental and physical resources should be activated, and knowledge use should be demonstrated in practice in order to improve the skill. This book contributes to the teaching of skills and includes basic concepts and skills, language skills, science and mathematics skills, psycho-social skills and visual arts skills. It also explains how to teach skills, how to prepare for activities and how to implement activities in educational settings. These applications are intended to draw attention to skill teaching, to raise educators, to increase the success of education, to improve the skills of students, and to enable them to use the skills they have learned in school outside of school and in complex tasks.
