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Creative criminals commit highly effective, novel crimes. From consumer fraud to terrorism, how can these creative criminals be stopped?
In the vein of The Creative Habit and The Artist’s Way, a manifesto on the creative process from a master of the impossible. Since well before his epic (and illegal) 1974 walk between the Twin Towers of the World Trade Center, Philippe Petit had become an artist who answered first to the demands of his craft—and not just on the high wire, but also as a magician, street juggler, visual artist, builder, and writer. He was a rebel and an autodidact, cultivating the attitudes, resources, and techniques to tackle even seemingly impossible feats. His outlaw sensibility spawned a unique approach to the creative process—an approach he shares, with characteristic enthusiasm, irreverence, and originality, in Creativity: The Perfect Crime. With the reader as his accomplice, Petit reveals fresh and unconventional ways of going about the artistic endeavor, from generating and shaping ideas to practicing, problem-solving, and ultimately pulling off the “coup” itself—executing a finished work. His strategies and insights will resonate with performers of every stripe (actors, musicians, dancers), practitioners of the non-performing arts (writers, artists), professionals in search of new ways of meeting challenges, and individuals simply engaged in the art of living creatively.
With few exceptions, scholarship on creativity has focused on its positive aspects while largely ignoring its dark side. This includes not only creativity deliberately aimed at hurting others, such as crime or terrorism, or at gaining unfair advantages, but also the accidental negative side effects of well-intentioned acts. This book brings together essays written by experts from various fields (psychology, criminal justice, sociology, engineering, education, history, and design) and with different interests (personality development, mental health, deviant behavior, law enforcement, and counter-terrorism) to illustrate the nature of negative creativity, examine its variants, call attention to its dangers, and draw conclusions about how to prevent it or protect society from its effects.
"Creativity is typically perceived to be a positive, constructive attribute and, yet, highly effective, novel crimes are committed which illustrate that creativity can also be utilised to serve a darker and more destructive end. But how can these 'creative criminals' be stopped? Adopting a psychological approach, renowned subject experts Cropley and Cropley draw upon concepts such as 'Person', 'Process', 'Press', and 'Product' to explain how existing psychological theories of creativity can be applied to a more subtle subset of ingenuity; that is to say, criminal behaviour and its consequences. Creativity and Crime does not look at felony involving impulsive, reflexive, or merely deviant behaviour, but rather the novel and resourceful measures employed by certain criminals to more effectively achieve their law-breaking goals. The book transcends the link between crime and creativity and proposes a range of preventive measures for law-enforcers. Scholars and graduates alike will find this an invaluable and illuminating read"--
Containing analyses of everything from prisoner poetry to album covers, Belomor: Criminality and Creativity in Stalin’s Gulag moves beyond the simplistic good/evil paradigm that often accompanies Gulag scholarship. While acknowledging the normative power of Stalinism—an ethos so hegemonic it wanted to harness the very mechanisms of inspiration—the volume also recognizes the various loopholes offered by artistic expression. Perhaps the most infamous project of Stalin’s first Five-Year Plan, the Belomor construction was riddled by paradox, above all the fact that it created a major waterway that was too shallow for large crafts. Even more significant, and sinister, is that the project won the backing of famous creative luminaries who enthusiastically professed the doctrine of self-fashioning. Belomor complicates our understanding of the Gulag by looking at both prisoner motivation and official response from multiple angles, thereby offering a more expansive vision of the labor camp and its connection to Stalinism.
From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time.
One of the world’s leading creative artists, choreographers, and creator of the smash-hit Broadway show, Movin’ Out, shares her secrets for developing and honing your creative talents—at once prescriptive and inspirational, a book to stand alongside The Artist’s Way and Bird by Bird. All it takes to make creativity a part of your life is the willingness to make it a habit. It is the product of preparation and effort, and is within reach of everyone. Whether you are a painter, musician, businessperson, or simply an individual yearning to put your creativity to use, The Creative Habit provides you with thirty-two practical exercises based on the lessons Twyla Tharp has learned in her remarkable thirty-five-year career. In "Where's Your Pencil?" Tharp reminds you to observe the world -- and get it down on paper. In "Coins and Chaos," she gives you an easy way to restore order and peace. In "Do a Verb," she turns your mind and body into coworkers. In "Build a Bridge to the Next Day," she shows you how to clean the clutter from your mind overnight. Tharp leads you through the painful first steps of scratching for ideas, finding the spine of your work, and getting out of ruts and into productive grooves. The wide-open realm of possibilities can be energizing, and Twyla Tharp explains how to take a deep breath and begin...
As the work of the International Criminal Tribunals for the Former Yogoslavia and Rwanda draws to a close, this edited collection appraises their impact. It particularly focuses on the position of judges as lawmakers within these tribunals, shedding light on the profound changes in international criminal law which these judges have instigated.
Creativity is like an iceberg - the resulting new idea, or novel solution is only 10% of the effort. The other 90% is the complex interplay of thinking skills and strategies, personal and motivational properties that activate these skills and strategies, and the social and organizational factors of the environment that influence the creative process. Creativity in Engineering focuses on the Process, Person, Product, and Place to understand when and why creativity happens in the engineering environment and how it can be further encouraged. Special Features: Applies findings in creativity research to the engineering arena Defines engineering creativity and differentiates it from innovation Discusses personality and motivational factors that impact creativity Clarifies the role of creativity in the design process Details the impact of thinking skills and strategies in creativity Identifies the role the organization and environment plays in encouraging creativity Discusses the 4P's of Creativity: Person, Product, Process, and Place Provides tactics and tools that will help users foster creativity in engineering environments Identifies how creativity results in innovative new solutions to problems Applies creativity research and knowledge to the engineering space