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How "Aha!" really happens. When do you get your best ideas? You probably answer "At night," or "In the shower," or "Stuck in traffic." You get a flash of insight. Things come together in your mind. You connect the dots. You say to yourself, "Aha! I see what to do." Brain science now reveals how these flashes of insight happen. It's a special form of intuition. We call it strategic intuition, because it gives you an idea for action-a strategy. Brain science tells us there are three kinds of intuition: ordinary, expert, and strategic. Ordinary intuition is just a feeling, a gut instinct. Expert intuition is snap judgments, when you instantly recognize something familiar, the way a tennis pro knows where the ball will go from the arc and speed of the opponent's racket. (Malcolm Gladwell wrote about this kind of intuition in Blink.) The third kind, strategic intuition, is not a vague feeling, like ordinary intuition. Strategic intuition is a clear thought. And it's not fast, like expert intuition. It's slow. That flash of insight you had last night might solve a problem that's been on your mind for a month. And it doesn't happen in familiar situations, like a tennis match. Strategic intuition works in new situations. That's when you need it most. Everyone knows you need creative thinking, or entrepreneurial thinking, or innovative thinking, or strategic thinking to succeed in the modern world. All these kinds of thinking happen through flashes of insight--strategic intuition. And now that we know how it works, you can learn to do it better. That's what this book is about. Over the past ten years, William Duggan has conducted pioneering research on strategic intuition and for the past three years has taught a popular course at Columbia Business School on the subject. He now gives us this eye-opening book that shows how strategic intuition lies at the heart of great achievements throughout human history: the scientific and computer revolutions, women's suffrage, the civil rights movement, modern art, microfinance in poor countries, and more. Considering the achievements of people and organizations, from Bill Gates to Google, Copernicus to Martin Luther King, Picasso to Patton, you'll never think the same way about strategy again. Three kinds of strategic ideas apply to human achievement: * Strategic analysis, where you study the situation you face * Strategic intuition, where you get a creative idea for what to do * Strategic planning, where you work out the details of how to do it. There is no shortage of books about strategic analysis and strategic planning. This new book by William Duggan is the first full treatment of strategic intuition. It's the missing piece of the strategy puzzle that makes essential reading for anyone interested in achieving more in any field of human endeavor.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
Certain assumptions about man's creativity in relation to his chronological age have become so widely accepted as fact that the findings of this book will surprise both general reader and specialist and may have far-reaching effects on established patterns of thought in psychology and in education. The book is a statistical evaluation of achievement in relation to age, assembling an incredible amount of factual information on the acres of b superlative achievement in every field from prize-fighting to philosophy. Originally published in 1953. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Excellence and the highest levels of performance in the arts and sciences, sports, and games have always been an object of fascination to both scientists and lay people. Only during the last 20 years have scientists studied these levels of performance in the laboratory in order to identify their mediating mechanisms. Contrary to the common belief that innate talents are the critical factors for exceptional performance, investigators have found that acquired skills, knowledge, and physiological adaptations in response to intense practice are the primary mechanisms, mediating the highest levels of performance. This is the first and only book to examine how elite performers effect their exceptional accomplishments. The world's leading researchers on expert performance and creative achievement review theories and recent findings from many different domains of expertise on how experts optimize improvement in their performance and eventually attain excellence. Elite performers are shown to have engaged in deliberate-practice activities specifically designed to improve their performance from an early age. By age 20 they have often accumulated over 10,000 hours of practice! The essential elements of deliberate practice, such as specific goals to improve performance, successive refinement through repetition, feedback and instruction, are explicated for different domains. Although the content of practice tasks will necessarily differ from domain to domain, investigators have found invariant characteristics for the optimal duration of practice sessions, maximal amounts of daily practice, the length of intense preparation (around 10 years), and ages of peak performance. Some of the book's chapters extend the review to the acquisition of everyday-life skills such as reading, to the performance of teams of experts, and to the development of creative achievement, geniuses, and artistic child prodigies. The book concludes with commentaries by several outstanding scientists in psychology, education, and history of science who discuss the generalizability of presented ideas and raise issues for future issues. EXTRA COPY...It could be said that striving for excellence is what characterizes humanity, or perhaps what characterizes humanity at its best. Why do so few individuals ever reach the highest levels when so many start out on the Road to Excellence? In this book, the world's foremost researchers of expert performance in domains as diverse as sports, medicine, chess, and the arts explore the similarities and differences in the extended and strenuous Road to Excellence taken by the successful individuals in each domain. Their findings will intrigue and inspire readers who are themselves driven to achieve or who simply want to better understand the processes involved.
COOP 2010 is the 9th edition of the International Conference on Designing Cooperative Systems, being the second European conference in the field of Computer Supported Cooperative Work after ECSCW. The conference brings together researchers who contribute to the analysis and design of cooperative systems and their integration in organizational community, public and other settings, and their implications for policy and decision making. Cooperative systems design requires a deep understanding of collective activities, involving both artifacts and social practices. Contributions are solicited from a wide range of domains contributing to the fields of cooperative systems design and evaluation: CSCW, HCI, Information Systems, Knowledge Engineering, Multi-agents, organizational and management sciences, sociology, psychology, anthropology, ergonomics, linguistics.
This 1976 book contextualises Salomon Gessner, traces the story of his impact and stresses his significance as a key to the taste of his age.
First multi-year cumulation covers six years: 1965-70.
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.