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Science is usually knownbyits most successful figures and resource-rich institutions. In stark contrast, Creativity from the Peripherydraws our attention to unknown figures in science—those who remain marginalized, even neglected, within its practices. Researchers in early twentieth-century colonial India, for example, have made significant contributions to the stock of scientific knowledge and have provided science with new breakthroughs and novel ideas, but to little acclaim. As Deepanwita Dasgupta argues, sometimes the best ideas in science are born from difficult and resource-poor conditions. Inthis study,she turns our attention to these peripheral actors, shedding new light on how scientific creativity operates in lesser-known, marginalized contexts, and how the work of self-trained researchers, though largely ignored , has contributed to important conceptual shifts. Her book presents a new philosophical framework for understanding this peripheral creativity in science through the lens of trading zones—where knowledge is exchanged between two unequal communities—and explores the implications for the future diversity of transnational science.
"The best book on high school dynamics I have ever read."--Jay Mathews, Washington Post An award-winning professor and an accomplished educator take us beyond the hype of reform and inside some of America's most innovative classrooms to show what is working--and what isn't--in our schools. What would it take to transform industrial-era schools into modern organizations capable of supporting deep learning for all? Jal Mehta and Sarah Fine's quest to answer this question took them inside some of America's most innovative schools and classrooms--places where educators are rethinking both what and how students should learn. The story they tell is alternately discouraging and hopeful. Drawing on hundreds of hours of observations and interviews at thirty different schools, Mehta and Fine reveal that deeper learning is more often the exception than the rule. And yet they find pockets of powerful learning at almost every school, often in electives and extracurriculars as well as in a few mold-breaking academic courses. These spaces achieve depth, the authors argue, because they emphasize purpose and choice, cultivate community, and draw on powerful traditions of apprenticeship. These outliers suggest that it is difficult but possible for schools and classrooms to achieve the integrations that support deep learning: rigor with joy, precision with play, mastery with identity and creativity. This boldly humanistic book offers a rich account of what education can be. The first panoramic study of American public high schools since the 1980s, In Search of Deeper Learning lays out a new vision for American education--one that will set the agenda for schools of the future.
This is the first study to draw on international research carried out across four EU member states to add to the neglected area of the creative economy of peripheral regions. Economies are dynamic entities and subject to constant flux. Driven by changing tastes, new ways to make and disruptive innovations, new routes of economic development present themselves at ever increasing rates. This study is concerned with the rise of the creative economy. UNCTAD has marked the emergence of the creative economy across the globe and noted its resilience in the face of recent economic turmoil. Here, the authors intend to bring the level of analysis down to the regional and firm level by uncovering the extent of the creative economy in some of Europe’s most peripheral regions. This is the first study to draw on international research carried out across four EU member states to add to the neglected area of the creative economy of peripheral regions. The work contributes to expanding theory in the areas of economic geography, business studies and regional development.
Examines how Norway has positioned itself as an alternative, environmentally-sound nation in a world filled with tension and instability.
Creativity can be viewed as the first stage of the overall innovation process, an important dimension of the entrepreneurship and new venture creation processes, and as such, it is considered to be a cornerstone of organizational competitiveness in this global, knowledge-based economy. Research on creativity has increasingly become multilevel, with most work conducted at the individual or team level of analysis. At the same time, there is a large body of research being conducted at the organizational level of analysis on innovation, and there has been a significant amount of entrepreneurship research at the individual level, with an increasing focus on organizational entrepreneurship. However, these three research streams have developed independently, and there has been very little knowledge transfer between the three areas. Because entrepreneurship is often said to be a process that is required to convert innovation into business ventures that will deliver benefits to stakeholders, it is typically driven by an individual or small group of individuals. Creativity research, innovation research, and entrepreneurship research have the potential to inform each other, enriching our knowledge of each area, particularly with regard to the cognitive processes and behaviors that are most effective. This Handbook includes contributions from the leading scholars in these three research areas, who integrate contemporary research findings on organizational creativity, innovation, and entrepreneurship and provide fruitful new research directions."
Creativity is said to be the fuel of the contemporary economy. Dynamic industries such as film, music, television and design have changed the fortunes of entire cities, from Nashville to Los Angeles, Barcelona to Brisbane and beyond. Yet creativity remains mercurial – it is at the heart of industrial innovation and can attract investment, but it is also an intangible, personal quality and experience. What exactly constitutes creativity? Drawing on examples as diverse as postcard design, classical music, landscape art, tattooing, Aboriginal hip-hop, and rock sculpture, this book seeks to explore and redefine creativity as both economic and cultural phenomenon. Creativity also has a peculiar geography. Beyond Hollywood, creativity is evident in suburban, rural and remote places – a quotidian, vernacular, eclectic enterprise. In seeking to redefine the creative industries, this book brings together geographers, historians, sociologists, cultural studies scholars and media/communications experts to explore creativity in diverse places outside major cities. These are places that are physically and/or metaphorically remote, are small in population terms, or which because of old industrial legacies are assumed by others to be unsophisticated or marginal in an imaginary geography of creativity. This book reveals the richness and depth, the challenges and surprises of being creative beyond city limits. This book was originally published as a special issue of Australian Geographer.
Creativity in organizations has become a key topic of organizational research. This work expands on existing research by exploring creativity in the dynamics of social networks. Collective creativity is introduced as a central part of organizational learning and seen as the expression of creativity on the collective level. The research is able to empirically assess creativity in the development of social structures. For the assessment of creativity this work applies a longitudinal study design by combining social network analysis with creativity studies. The approach enables to relate creativity indicators with social network measures. It is based on an empirical study of innovation projects in the automotive industry and thereby extends existing research and theories on creativity, social network dynamics and organizational learning.
This volume brings together empirical and conceptual papers that go beyond questions of idea generation to account for the dynamics of idea development, judgement, and dissemination – processes which are at the heart of organizing for innovation.
This book offers a multidisciplinary and multi-domain approach to the most recent research results in the field of creative thinking and creativity, authored by renowned international experts. By presenting contributions from different scientific and artistic domains, the book offers a comprehensive description of the state of the art on creativity research. Specifically, the chapters are organized into four parts: 1) Theoretical Aspects of Creativity; 2) Social Aspects of Creativity; 3) Creativity in Design and Engineering; 4) Creativity in Art and Science. In this way, the book becomes a necessary platform for generative dialogue between disciplines that are typically divided by separating walls.
The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.