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Conceptual Physics, Tenth Edition helps readers connect physics to their everyday experiences and the world around them with additional help on solving more mathematical problems. Hewitt's text is famous for engaging readers with analogies and imagery from real-world situations that build a strong conceptual understanding of physical principles ranging from classical mechanics to modern physics. With this strong foundation, readers are better equipped to understand the equations and formulas of physics, and motivated to explore the thought-provoking exercises and fun projects in each chapter. Included in the package is the workbook. Mechanics, Properties of Matter, Heat, Sound, Electricity and Magnetism, Light, Atomic and Nuclear Physics, Relativity. For all readers interested in conceptual physics.
This includes a balance of in-depth experiments that allow students to develop laboratory skills and quick activities that use readily available materials.
This guide provides simple, pre-class activities and experiments to complement instructors' courses. Instructions and answers to most of the laboratory questions are provided in the Instructor Manual.
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.
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