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Using evidence-based research, this book shows how to maximise the benefits of creative metaphor and metonymy in global advertising.
Before unlocking creativity, we must first unpack what it means. In this book, creativity is unravelled from various perspectives and the relevance for language teaching and learning is explored. Tin offers a coherent discussion of creativity, adopting an inclusive and integrated but, at the same time, focused approach to creativity. Divided into 12 chapters, the book covers: A critical review of the way the term ‘creativity’ is used, defined and written about in various disciplines Various models and theories of creativity, the product- and process-oriented views of creativity and their relevance for language teaching Three pillars on which creative language pedagogy should be based Over 60 practical tasks, applying theoretical arguments and principles of creativity to language teaching and learning Based on the author’s own practice and research on creativity over the last two decades, the book provides exciting new ideas for scholars and practitioners interested in creativity and creative language pedagogy. The book serves as an important contribution for students, teachers and scholars in the field of applied linguistics, language teaching and education.
Drawing on interviews with 40 winners of the MacArthur Foundation Fellowship—the so-called "genius awards"—the insightful study throws fresh light on the creative process.
Ever wonder where big, breakthrough ideas come from? How do innovators manage to spot the opportunities for industry revolution that everyone else seems to miss? Contrary to popular belief, innovation is not some mystical art that’s forbidden to mere mortals. The Four Lenses of Innovation thoroughly debunks this pervasive myth by delivering what we’ve long been hoping for: the news that innovation is systematic, it’s methodical, and we can all achieve it. By asking how the world’s top innovators—Steve Jobs, Richard Branson, Jeff Bezos, and many others—came up with their game-changing ideas, bestselling author Rowan Gibson identifies four key business perspectives that will enable you to discover groundbreaking opportunities for innovation and growth: Challenging Orthodoxies—What if the dominant conventions in your field, market, or industry are outdated, unnecessary, or just plain wrong? Harnessing Trends—Where are the shifts and discontinuities that will, now and in the future, provide the energy you need for a major leap forward? Leveraging Resources—How can you arrange existing skills and assets into new combinations that add up to more than the sum of their parts? Understanding Needs—What are the unmet needs and frustrations that everyone else is simply ignoring? Other books promise the keys to innovation—this one delivers them. With a unique full-color design, thought-provoking examples, and features like the 8-Step Model for Building a Breakthrough, The Four Lenses of Innovation will teach you how to reverse-engineer creative genius and make radical business innovation an everyday reality inside your organization. “Rowan Gibson has done a superb job of ‘unpacking’ what it takes to innovate.” —Philip Kotler, S. C. Johnson Distinguished Professor of International Marketing at the Kellogg School of Management at Northwestern University “Can you develop an innovative mind? Yes, you can. And this book is the manual.” —John and Doris Naisbitt, authors of China’s Megatrends and The Global Game Change “An excellent piece of work for practitioners and organizations who seek to have innovation as part of their DNA.” —Camille Mirshokrai, Managing Director of Leadership Development, and Partner at Accenture “Rowan Gibson’s The Four Lenses of Innovation will inspire you to think big, look afresh at the challenges you face, and take bold action to change the world.” —Robert B. Tucker, author of Driving Growth Through Innovation
Business consultants everywhere preach the benefits of innovation—and promise to help businesses reap them. A trendy industry, this type of consulting generates courses, workshops, books, and conferences that all claim to hold the secrets of success. But what promises does the notion of innovation entail? What is it about the ideology and practice of business innovation that has made these firms so successful at selling their services to everyone from small start-ups to Fortune 500 companies? And most important, what does business innovation actually mean for work and our economy today? In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual innovation. Wilf focuses a keen eye on how our obsession with ceaseless innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation actually is. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.
In this exciting new book Angela McRobbie charts the ‘euphoric’ moment of the new creative economy, as it rose to prominence in the UK during the Blair years, and considers it from the perspective of contemporary experience of economic austerity and uncertainty about work and employment. McRobbie makes some bold arguments about the staging of creative economy as a mode of ‘labour reform’; she proposes that the dispositif of creativity is a fine-tuned instrument for acclimatising the expanded, youthful urban middle classes to a future of work without the raft of entitlements and security which previous generations had struggled to win through the post-war period of social democratic government. Adopting a cultural studies perspective, McRobbie re-considers resistance as ‘line of flight’ and shows what is at stake in the new politics of culture and creativity. She incisively analyses ‘project working’ as the embodiment of the future of work and poses the question as to how people who come together on this basis can envisage developing stronger and more protective organisations and associations. Scattered throughout the book are excerpts from interviews with artists, stylists, fashion designers, policy-makers, and social entrepreneurs.
"I fully realize that my discussion of the mental climate of collecting will confirm many of you in your conviction that this passion is behind the times, in your distrust of the collector type. Nothing is further from my mind than to shake either your conviction or your distrust." Walter Benjamin was one of the great cultural critics of the twentieth century. In Unpacking My Library he offers a strikingly personal meditation on his career as a book collector and on the strange relations that spring up between objects and their owners. Witty, erudite and often moving, this book will resonate with bibliophiles of all kinds. Eris Gems make available in the form of beautifully produced saddle-stitched booklets a series of outstanding short works of fiction and non-fiction.
This book challenges the standard view that creativity comes only from within an individual by arguing that creativity also exists ‘outside’ of the mind or more precisely, that the human mind extends through the means of action into the world. The notion of ‘distributed creativity’ is not commonly used within the literature and yet it has the potential to revolutionise the way we think about creativity, from how we define and measure it to what we can practically do to foster and develop creativity. Drawing on cultural psychology, ecological psychology and advances in cognitive science, this book offers a basic framework for the study of distributed creativity that considers three main dimensions of creative work: sociality, materiality and temporality. Starting from the premise that creativity is distributed between people, between people and objects and across time, the book reviews theories and empirical examples that help us unpack each of these dimensions and above all, articulate them into a novel and meaningful conception of creativity as a simultaneously psychological and socio-material process. The volume concludes by examining the practical implications in adopting this perspective on creativity.
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.
Creativity is the lifeblood of any business—from fledgling startup to global giant, creativity is what inspires entrepeneurs to take the leap into the unknown, motivates project teams to design faster and better products, drives executives to set their sights on new markets and customers. The Creative Enterprise asks: where do these creative impulses come from, and how can they be channeled into profitable ventures? Contributions from scholars and practitioners around the world integrate insights from the fields of management, economics, technology, psychology, and sociology to shed new light on innovation and how it drives business growth. Volume 1 focuses on innovation strategies, with chapters on developing the new product pipeline, technology transfer, and strategic alliances. Volume 2 considers the individual and organizational aspects of innovation, with chapters on the psychology of creativity and the influences of organizational culture on innovation. Volume 3 covers the infrastructure for promoting and sustaining innovation, with chapters on managing creative teams, selecting and funding projects, and developing effective performance measurement and rewards systems. Create—to make or bring into existence something new, derived from the Latin crescere, to grow. Creativity is the lifeblood of any business—from fledgling startup to global giant, creativity is what inspires entrepreneurs to take the leap into the unknown, motivates project teams to design faster and better products, drives executives to set their sights on new markets and customers. Where does this creativity come from? How can it be channeled into profitable ventures? The Creative Enterprise brings together the most current thinking from academics and practitioners around the world to shed new light on creativity and how it drives business growth. It addresses such topics as: Why are some organizations creative and others are not? What catalyzes new ideas? How can leaders balance short-term financial pressures and long-term creative aspirations? And how can firms maximize the value of their ideas into profitable products and services? While many authors have tackled pieces of the puzzle, this set uniquely integrates insights from the fields of management, economics, technology, psychology, and sociology, to cover the spectrum across individual and organizational innovation. Volume 1 focuses on innovation strategies, with chapters on developing the new product pipeline, measuring the impact of innovation on firm growth, technology transfer, and strategic alliances. Volume 2 considers the individual and organizational aspects of innovation, with chapters on creativity and artwork, idea catalysts and blocks, and the interplay between organizational culture and innovation. Volume 3 covers the infrastructure for promoting and sustaining innovation, with chapters on managing creative teams, selecting and funding projects, and developing effective performance measurement and rewards systems.