In this highly readable yet comprehensive book, parents and teachers will find many suggestions for enhancing creativity. Understanding Creativity offers advice on how to plan adventures, value work without ?evaluation?, set a creative tone, and incorporate creativity values into one's own family or classroom culture. Readers will learn how to spot talent through a child's behaviors and how to encourage practice. Real-life examples of artists, musicians, dancers, entrepreneurs, architects, and authors are included.

Employees who possess problem-solving skills are highly valued in today?s competitive business environment. The question is how can employees learn to deal in innovative ways with new data, methods, people, and technologies? In this groundbreaking book, Arthur VanGundy -- a pioneer in the field of idea generation and problem solving -- has compiled 101 group activities that combine to make a unique resource for trainers, facilitators, and human resource professionals. The book is filled with idea-generation activities that simultaneously teach the underlying problem-solving and creativity techniques involved. Each of the book?s 101 engaging and thought-provoking activities includes facilitator notes and advice on when and how to use the activity. Using 101 Activities for Teaching Creativity and Problem Solving will give you the information and tools you need to: Generate creative ideas to solve problems. Avoid patterned and negative thinking. Engage in activities that are guaranteed to spark ideas. Use proven techniques for brainstorming with groups. Order your copy today.

Explaining Creativity is a comprehensive and authoritative overview of scientific studies on creativity and innovation. Sawyer discusses not only arts like painting and writing, but also science, stage performance, business innovation, and creativity in everyday life. Sawyer's approach is interdisciplinary. In addition to examining psychological studies on creativity, he draws on anthropologists' research on creativity in non-Western cultures, sociologists' research on the situations, contexts, and networks of creative activity, and cognitive neuroscientists' studies of the brain.

Creativity and the Common Core State Standards are both important to today’s teachers. Yet, for many educators, nurturing students’ creativity seems to conflict with ensuring that they learn specific skills and content. In this book, the authors outline ways to adapt existing lessons and mandated curricula to encourage the development of student creativity alongside more traditional academic skills. Based on cutting-edge psychological research on creativity, the text debunks common misconceptions about creativity and describes how learning environments can support both creativity and the Common Core, offers creative lessons and insights for teaching English language arts and mathematics, and includes assessments for creativity and Common Core learning. Featuring numerous classroom examples, this practical resource will empower teachers to think of the Common Core and creativity as encompassing complementary, rather than mutually exclusive, goals. Book Features: Shows how teaching skills mandated by the CCSS and teaching for creativity can reinforce one another. Helps teachers better understand what creativity is, how to develop it, and how to assess it in meaningful ways. Examines the many misconceptions about creativity that prevent teachers from doing their best work. Provides classroom examples, ideas, and lesson plans from successful teachers across disciplines. “This wonderful book makes the important point that teaching to well-designed standards is completely consistent with teaching for creativity. [It] is filled with practical advice for teachers about how to teach to Common Core standards, in both ELA and math, in ways that lead to creative learning outcomes.” —Keith Sawyer, Morgan Distinguished Professor in Educational Innovations, University of North Carolina at Chapel Hill “Beghetto, and Baer make a strong, nuanced case that knowledge for the sake of knowledge may be acceptable for immediate retention, but knowledge in the service of creating new possibilities has long-term consequences that can’t be ignored by educators and society.” —Scott Barry Kaufman, scientific director, The Imagination Institute and researcher, Positive Psychology Center, University of Pennsylvania

How cognitive psychology explains human creativity Conventional wisdom holds that creativity is a mysterious quality present in a select few individuals. The rest of us, the common view goes, can only stand in awe of great creative achievements: we could never paint Guernica or devise the structure of the DNA molecule because we lack access to the rarified thoughts and inspirations that bless geniuses like Picasso or Watson and Crick. Presented with this view, today's cognitive psychologists largely differ finding instead that "ordinary" people employ the same creative thought processes as the greats. Though used and developed differently by different people, creativity can and should be studied as a positive psychological feature shared by all humans. Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts presents the major psychological theories of creativity and illustrates important concepts with vibrant and detailed case studies that exemplify how to study creative acts with scientific rigor. Creativity includes: * Two in-depth case studies--Watson and Crick's modeling of the DNA structure and Picasso's painting of Guernica-- serve as examples throughout the text * Methods used by psychologists to study the multiple facets of creativity * The "ordinary thinking" or cognitive view of creativity and its challengers * How problem-solving and experience relate to creative thinking * Genius and madness and the relationship between creativity and psychopathology * The possible role of the unconscious in creativity * Psychometrics--testing for creativity and how personality factors affect creativity * Confluence theories that use cognitive, personality, environmental, and other components to describe creativity Clearly and engagingly written by noted creativity expert Robert Weisberg, Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts takes both students and lay readers on an in-depth journey through contemporary cognitive psychology, showing how the discipline understands one of the most fundamental and fascinating human abilities. "This book will be a hit. It fills a large gap in the literature. It is a well-written, scholarly, balanced, and engaging book that will be enjoyed by students and faculty alike." --David Goldstein, University of Toronto

A science-backed method to maximize creative potential in any sphere of life With the prevalence of computer technology and outsourcing, new jobs and fulfilling lives will rely heavily on creativity and innovation. Keith Sawyer draws from his expansive research of the creative journey, exceptional creators, creative abilities, and world-changing innovations to create an accessible, eight-step program to increasing anyone's creative potential. Sawyer reveals the surprising secrets of highly creative people (such as learning to ask better questions when faced with a problem), demonstrates how to come up with better ideas, and explains how to carry those ideas to fruition most effectively. This science-backed, step-by step method can maximize our creative potential in any sphere of life. Offers a proven method for developing new ideas and creative problem-solving no matter what your profession Includes an eight-step method, 30 practices, and more than 100 techniques that can be launched at any point in a creative journey Psychologist, jazz pianist, and author Keith Sawyer studied with world-famous creativity expert Mihaly Csikszentmihalyi Sawyer's book offers a wealth of easy to apply strategies and ideas for anyone who wants to tap into their creative power.

Creative teaching as well as teaching creativity are cutting edge issues in psychology today as recent academic and popular media coverage has shown. This volume expands on that interest with chapter authors drawn from interdisciplinary areas. It includes examples of creatively teaching across the education system, including preschool, K-12, undergraduate, and graduate level education. The variety of subjects covered by the chapters include psychology,math, science, and reading. In addition to creative teaching which may lead to enhanced learning and achievement in students, as well enhanced creativity,another focus is teaching with the objective to enhance creativity.

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.

Why do some people seem more creative than others? How do brilliant minds gain key card access to unexplained depths of power and illumination while others struggle simply to choose a tie? Studies have demonstrated that creativity isnt necessarily linked with intelligence, yet our most profound philosophers and academic minds have yet to crack the creative genius code. Until now. The most current research into the nature of consciousnessour sense of existencehas shed new insight into and sparked provocative discussion on the origins of creative genius and the ideal conditions for channeling heightened creativity.

Why our use of language is highly creative yet also constrained We use words and phrases creatively to express ourselves in ever-changing contexts, readily extending language constructions in new ways. Yet native speakers also implicitly know when a creative and easily interpretable formulation—such as “Explain me this” or “She considered to go”—doesn’t sound quite right. In this incisive book, Adele Goldberg explores how these creative but constrained language skills emerge from a combination of general cognitive mechanisms and experience. Shedding critical light on an enduring linguistic paradox, Goldberg demonstrates how words and abstract constructions are generalized and constrained in the same ways. When learning language, we record partially abstracted tokens of language within the high-dimensional conceptual space that is used when we speak or listen. Our implicit knowledge of language includes dimensions related to form, function, and social context. At the same time, abstract memory traces of linguistic usage-events cluster together on a subset of dimensions, with overlapping aspects strengthened via repetition. In this way, dynamic categories that correspond to words and abstract constructions emerge from partially overlapping memory traces, and as a result, distinct words and constructions compete with one another each time we select them to express our intended messages. While much of the research on this puzzle has favored semantic or functional explanations over statistical ones, Goldberg’s approach stresses that both the functional and statistical aspects of constructions emerge from the same learning mechanisms.