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Creative thinking, be it that of the teacher or the student, has tended to be overlooked in science, but exercising it is important. This book shows how it can be done in chemistry, both in the context of creative chemistry teaching and in learning chemistry. Going beyond principles and ideology, readers will find practical strategies, tools, examples, and case studies in a variety of contexts to bring creative thinking theory into practice. Beginning with a discussion on the nature of creativity, the authors’ debunk misconceptions and address the relationship between creativity and problem solving. Delving into opportunities for practising creative thinking in science, for instance, hypothesis generation and experiment design, the authors’ then move on to discussions around assessing and evaluating creative thinking. Further areas covered include: multisensory chemistry, language and literacy, practical work and story-telling. As a resource, this book points the way to fostering exploration and the development of creative thinking in chemistry for the benefit of the student, and for the benefit of the teacher in offering a source of satisfaction and achievement in the work they do. With a foreword by John Holman.
How can we identify the young men and women who, as social and behavioral scientists of tomorrow, will do the needed research to resolve our burgeoning social problems? How can the most promising be attracted to an investigatory career? How can they become identified with the behaviors, attitudes and values that persons in science share? A provocative body of literature about the psychology of the scientist and his career emerged in the post-Sputnik era. Drs. Eiduson and Beckman bring together more than seventy of the most significant and representative studies. These range over childhood and family influences, academic experiences, motivations, interests, and intellectual and personality strengths that have been examined as precursors for choosing science as adult work. The psychological mechanisms involved in socializing a young person toward a scientific career are suggested in readings from the outstanding theoreticians in the field. Selections on scientific career lines, decisions and options at various stages of work, and factors influencing goals and career development contribute to the understanding of the psychological life of the highly endowed and well-functioning professional adult. Through showing the certain completeness of effort of what has been learned about the psychology of scientists to date, the authors anticipate a resurgence of interest in the creative individual, a renewed enthusiasm for application, and a refocusing of research on the issues unique to the social and behavioral research scientist.
Chemistry
Ten years ago, the editor of a leading magazine invited me to lunch. I had been one of his contributors, but we had never met. He broke the ice by asking, “What is your hobby, Mr. Osborn?” “Imagination,” I replied. He paused, then wrote on the back of an envelope, “MY HOBBY IS IMAGINATION.” “Mr. Osborn,” he said, “you must do a book on that. It’s a job that has been waiting to be done all these years. There is no subject of greater importance. You must give it the time and energy and thoroughness it deserves.” That remark started this book. Although I earned my master’s degree in practical psychology and have devoted most of my life to the psychology of advertising, I cannot claim to be a psychologist. Nor have I tried to write as a psychologist. I have felt free to take figurative liberties with academic concepts. For instance, I realize that imagination is an integral part of man’s mind-body function; and yet, for the sake of clarity and readability, I refer to imagination as if it were an entity of itself. My frequent use of the term “brainstorm” may bother the reader at first. Although Chapter 33 will fully explain, an inkling of its meaning may be helpful here: “Brainstorm” is used mainly to label the kind of conference where a few people sit down together for an hour or so solely to use their creative imaginations—solely to suggest ideas on a specific subject, right then and there. During the past ten years, in quest of material and insight, I have interviewed hundreds of people and have read hundreds of books, speeches and articles. I am indebted to all who talked with me and to all whose writings I read. Many of their names will be found in the index.
Your Creative Power is a guide to harnessing and expressing your creative potential and leadership in the workplace.
Images and text capture the astonishing beauty of the chemical processes that create snowflakes, bubbles, flames, and other wonders of nature. Chemistry is not just about microscopic atoms doing inscrutable things; it is the process that makes flowers and galaxies. We rely on it for bread-baking, vegetable-growing, and producing the materials of daily life. In stunning images and illuminating text, this book captures chemistry as it unfolds. Using such techniques as microphotography, time-lapse photography, and infrared thermal imaging, The Beauty of Chemistry shows us how chemistry underpins the formation of snowflakes, the science of champagne, the colors of flowers, and other wonders of nature and technology. We see the marvelous configurations of chemical gardens; the amazing transformations of evaporation, distillation, and precipitation; heat made visible; and more.
Although research and practice in hypnosis has seen unprecedented expansion, there has been a definite lack of inclusive and comprehensive surveys to aid the student and researcher. This collection of original chapters written by leading experimental investigators is the first work to offer a current state-of-the-art in hypnosis research. A compendium of the historical background, theories, issues, and trends in hypnosis, this volume represents all major experimental viewpoints while providing a virtual ""who's who"" in the field of hypnosis.The first two chapters (written by the editors) establish the current theoretical base of the field and review the historical background. Seventeen contributions focus directly on key aspects of present day hypnosis research. These contributions are organized as surveys of broad topic areas, descriptions in depth of individual investigator's programmatic lines of research, and reports on research within specific areas, especially those representing new viewpoints and holding promise for programmatic development. A final chapter develops questions for future research.Offering an inclusive survey of the field from its historical inceptions to its current and predictive state, this book presents many new ideas while updating established positions in research and theory. The vital areas covered in connection with hypnosis include: psychophysiology, creativity, dreams, imagination, suggestibility, simulator controls, cognitive activity, and ego-psychological theory. In addition there are chapters on hypnosis as a research method, the measurement of altered states of consciousness, and hypnotic programming techniques in psychological experiments. Hypnosis: Research Developments and Perspectives is written for researchers in hypnosis and clinical practitioners in medicine and psychology. The book will serve as a basic text in all courses in hypnosis at the graduate level.
The motivation underlying our development of a "handbook" of creativity was different from what usually is described by editors of other such volumes. Our sense that a handbook was needed sprang not from a deluge of highly erudite studies calling out for organization, nor did it stem from a belief that the field had become so fully articulated that such a book was necessary to provide summation and reference. Instead, this handbook was conceptualized as an attempt to provide structure and organization for a field of study that, from our perspective, had come to be a large-scale example of a "degenerating" research program (see Brown, Chapter 1). The handbook grew out of a series of discussions that spanned several years. At the heart of most of our interactions was a profound unhappiness with the state of research on creativity. Our consensus was that the number of "good" works published on creativity each year was small and growing smaller. Further, we could not point to a journal, text, or professional organization that was providing leadership for the field in shaping a scientifically sound framework for the development of research programs in creativity. At the same time, we were casting about for a means of honoring a dear friend, E. Paul Torrance. Our decision was that we might best be able to honor Paul and influence research on creativity by developing a handbook designed to challenge traditional perspectives while offering research agendas based on contemporary psychological views.