“A journey into a powerful idea . . . the more people you involve as creators and contributors, the greater your innovation capacity.” —Polly LaBarre, New York Times-bestselling coauthor of Mavericks at Work Organizations need to offer customers breakthrough products, services, and solutions to effectively compete in today’s innovation-hungry economy. The challenge is customers often don’t know precisely what they want. As Henry Ford is reputed to have said, “If I had asked people what they wanted, they would have said faster horses.” To surprise and awe your customers, Chip Bell advises developing co-creation partnerships with them. Co-creation partnerships are about fulfilling customers’ hopes and aspirations, not just their needs and expectations. Co-creation partnerships require (1) curiosity that uncovers insight, (2) grounding that promotes clear focus, (3) discovery that fosters risk-taking, (4) trust that safeguards partnership purity, and (5) passion that inspires energized generosity. Using examples from organizations like McDonald’s, DHL, Marriott, Lockheed Martin, Discover Financial, Ultimate Software, and many more, Bell shows how co-creation partnerships enable you to tap into the treasure trove of ideas, ingenuity, and genius-in-the-raw within every customer. “Innovation through partnership is the blueprint for business growth in the future. Inside Your Customer’s Imagination provides the instruction and inspiration to make it a success.”—Marshall Goldsmith, #1 New York Times-bestselling author “Chip Bell’s unique perspective, lively illustrations, and practical advice result in one terrific resource for anyone eager to tap a customer’s ingenuity for creating breakthrough results.” —Jeanne Bliss, founder and CEO, CustomerBliss; and cofounder, Customer Experience Professionals Association (CXPA)

“Chip Bell's unique perspective, lively illustrations, and practical advice result in one terrific resource for anyone eager to tap a customer's ingenuity for creating breakthrough results.” —Jeanne Bliss, founder and CEO, CustomerBliss; and cofounder, Customer Experience Professionals Association (CXPA) Organizations need to offer customers breakthrough products, services, and solutions to effectively compete in today's innovation-hungry economy. The challenge is customers often don't know precisely what they want. As Henry Ford is reputed to have said, “If I had asked people what they wanted, they would have said faster horses." To surprise and awe your customers, Chip Bell advises developing co-creation partnerships with them. Co-creation partnerships are about fulfilling customers' hopes and aspirations, not just their needs and expectations. Co-creation partnerships require (1) curiosity that uncovers insight, (2) grounding that promotes clear focus, (3) discovery that fosters risk-taking, (4) trust that safeguards partnership purity, and (5) passion that inspires energized generosity. Using examples from organizations like McDonald's, DHL, Marriott, Lockheed Martin, Discover Financial, Ultimate Software, and many more, Bell shows how co-creation partnerships enable you to tap into the treasure trove of ideas, ingenuity, and genius-in-the-raw within every customer.

Winner of the Living Now Awards 2013, International Latino Book Awards 2013 and Moonbeam Children Books Awards 2013. There is a door in every one of us that leads to our imagination, a world where anything is possible. Dou you dare to embark on the most wonderful journey to our inner-self? One day when I was reading my story, I breathed in one of the words and something magical happened... I entered my imagination! We have always been told about the power of imagination, but what is imagination? How does it work? There is a magical place where you can always be yourself. In there you can turn on your light and illuminate your life with it. That place is your imagination. Your imagination has a life and a voice of its own. It is like a voice that speaks inside of you and paints everything around you with vivid colors. Within your imagination you are the king or queen of your creation. Open the door and discover how that place where we can always be ourselves is like and how does it work. And within your imagination... what is there? Read the first pages of Inside my imagination here below:

A unique approach to the marketing/ management concept discusses product and marketing objectives, the relationship between client and supplier, the industrialization of service, and other facets of effective marketing strategies.

Does heaven exist? If so, what is it like? And how does one get in? Throughout history, painters, poets, philosophers, pastors, and many ordinary people have pondered these questions. Perhaps no other topic captures the popular imagination quite like heaven. Gary Scott Smith examines how Americans from the Puritans to the present have imagined heaven. He argues that whether Americans have perceived heaven as reality or fantasy, as God's home or a human invention, as a source of inspiration and comfort or an opiate that distracts from earthly life, or as a place of worship or a perpetual playground has varied largely according to the spirit of the age. In the colonial era, conceptions of heaven focused primarily on the glory of God. For the Victorians, heaven was a warm, comfortable home where people would live forever with their family and friends. Today, heaven is often less distinctively Christian and more of a celestial entertainment center or a paradise where everyone can reach his full potential. Drawing on an astounding array of sources, including works of art, music, sociology, psychology, folklore, liturgy, sermons, poetry, fiction, jokes, and devotional books, Smith paints a sweeping, provocative portrait of what Americans-from Jonathan Edwards to Mitch Albom-have thought about heaven.

Sam S. Shubert Theatre, David Merrick, in association with Bernard Delfont presents Anthony Newley in "Stop the World, I Want to Get Off," with Anna Quayle, Jennifer Baker, Susan Baker, a new-style musical, book, music and lyrics by Leslie Bricusse and Anthony Newley, setting and lighting by Sean Kenny, musical supervision by Ian Fraser, musical director Milton Rosenstock, orchestrations by Ian Fraser with David Lindup, Burt Rhodes, Gordon Langford, John Broome's choreography restaged by Virginia Mason, directed by Anthony Newley.

A guide for mining the imagination to find powerful new ways to succeed. We need imagination now more than ever—to find new opportunities, rethink our businesses, and discover paths to growth. Yet too many companies have lost their ability to imagine. What is this mysterious capacity? How does imagination work? And how can organizations keep it alive and harness it in a systematic way? The Imagination Machine answers these questions and more. Drawing on the experience and insights of CEOs across several industries, as well as lessons from neuroscience, computer science, psychology, and philosophy, Martin Reeves of Boston Consulting Group's Henderson Institute and Jack Fuller, an expert in neuroscience, provide a fascinating look into the mechanics of imagination and lay out a process for creating ideas and bringing them to life: The Seduction: How to open yourself up to surprises The Idea: How to generate new ideas The Collision: How to rethink your idea based on real-world feedback The Epidemic: How to spread an evolving idea to others The New Ordinary: How to turn your novel idea into an accepted reality The Encore: How to repeat the process—again and again. Imagination is one of the least understood but most crucial ingredients of success. It's what makes the difference between an incremental change and the kinds of pivots and paradigm shifts that are essential to transformation—especially during a crisis. The Imagination Machine is the guide you need to demystify and operationalize this powerful human capacity, to inject new life into your company, and to head into unknown territory with the right tools at your disposal.

A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible—the enabling of new uses, conceptions, and perceptions—lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design—in all its manifestations, from physical products to principles of organization—to be an essential medium for the articulation and transformation of culture.

The idea that science is or should be value-free, and that values are or should be formed independently of science, has been under fire by philosophers of science for decades. Science and Moral Imagination directly challenges the idea that science and values cannot and should not influence each other. Matthew J. Brown argues that science and values mutually influence and implicate one another, that the influence of values on science is pervasive and must be responsibly managed, and that science can and should have an influence on our values. This interplay, he explains, must be guided by accounts of scientific inquiry and value judgment that are sensitive to the complexities of their interactions. Brown presents scientific inquiry and value judgment as types of problem-solving practices and provides a new framework for thinking about how we might ethically evaluate episodes and decisions in science, while offering guidance for scientific practitioners and institutions about how they can incorporate value judgments into their work. His framework, dubbed “the ideal of moral imagination,” emphasizes the role of imagination in value judgment and the positive role that value judgment plays in science.

“Berry's latest collection of essays is the reminiscence of a literary life. It is a book that acknowledges a lifetime of intellectual influences, and in doing so, positions Berry more squarely as a cornerstone of American literature . . . A necessary book. Here, Berry's place as the 'grandfather of slow food' or the 'prophet of rural living' is not questioned. This book ensures we understand the depth and breadth of Berry's art.” —San Francisco Chronicle “[A] stellar collection . . . Foodies, architects, transportation engineers, and other writers are adopting and adapting [Berry’s] concepts, perhaps leading to what he envisions will one day be 'an authentic settlement of our country.'“ —The Oregonian A writer who can imagine the “community belonging to its place” is one who has applied his knowledge and citizenship to achieve the goal to which Wendell Berry has always aspired—to be a native to his own local culture. And for Berry, what is “local, fully imagined, becomes universal,” and the “local” is to know one's place and allow the imagination to inspire and instill “a practical respect for what is there besides ourselves." In Imagination in Place, we travel to the local cultures of several writers important to Berry's life and work, from Wallace Stegner's great West and Ernest Gaines' Louisiana plantation life to Donald Hall's New England, and on to the Western frontier as seen through the Far East lens of Gary Snyder. Berry laments today's dispossessed and displaced, those writers and people with no home and no citizenship, but he argues that there is hope for the establishment of new local cultures in both the practical and literary sense. Rich with Berry's personal experience of life as a Kentucky agrarian, the collection includes portraits of a few of America's most imaginative writers, including James Still, Hayden Carruth, Jane Kenyon, John Haines, and several others.