Current conceptualizations of children's thinking tend to be unneccesarily narrow, and to focus on what might be called convergent thinking. As a result, invention and innovation are often underemphasized in schools. This text aims to encourage a broad understanding of intellect, and attempts to help teachers to recognize and foster more varied forms of intellectual activity in their students. It offers a review of recent theory on creativity, conceptualizing this as a matter of getting ideas, trying the new, branching out and the like, rather than of producing artistic or scientific products. It discusses the factors in the classroom which block this more divergent kind of thinking and suggests practical ways through which teachers can promote bolder and more innovative intellectual activity in their students. This involves not merely cognitive factors (thinking, remembering, reasoning) but also motivation (courage and willingness), personality (openness to the new, self-confidence), and social factors (nonconformity, ability to communicate ideas). The text is applied in orientation, contains a large number of examples and case studies, and aims at providing practicing teachers with guidelines.

The chapters in this book all appeared originally in the European Journal for High Ability, reprinted here to expose them to a North American readership. They cover basic concepts in the study of giftedness, cognition and problem solving, musical talent and counseling. The authors come from a dozen different countries including the United Kingdom, Germany, Holland, France, Italy, and Sweden. Also represented are nations such as Russia, Poland, and Hungary, which have just emerged from a period of domination of ideas by a socio-political tradition known to North Americans only in the abstract.

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 criminals to more effectively achieve their lawbreaking goals. The book transcends the link between crime and creativity, and proposes a range of preventative measures for law enforcers. Scholars and graduates alike will find this an invaluable and illuminating read.

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 criminals to more effectively achieve their lawbreaking goals. The book transcends the link between crime and creativity, and proposes a range of preventative measures for law enforcers. Scholars and graduates alike will find this an invaluable and illuminating read.

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.

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.

Dieses Buch entwickelt eine Methode fur die hoechstdifferenzierte Diagnose der innovationsbezogenen Starken und Schwachen von Organisationen und bietet Impulse fur innovatives Innovationsmanagement. Aus den Befunden der Kreativitatstheorie und -forschung ermittelt das Buch die entscheidenden Komponenten, die als Bausteine der Innovation fungieren. Aus dieser Herangehensweise ergeben sich neue Erkenntnisse uber die Besonderheiten innovativer Produkte und die Prozesse, wodurch sie zu Stande kommen, uber die psychischen Merkmale innovativer Menschen und uber die organisationalen Rahmenbedingungen, die Innovationsprozesse foerdern bzw. hemmen, einschliesslich des paradoxen Zusammenspiels von Produkt, Prozess, Menschen und Fuhrungsstrategien.

In today's highly competitive market, organizations increasingly need to innovate in order to survive. Drawing on a wealth of psychological research in the field of creativity, David H. Cropley and Arthur J. Cropley illustrate practical methods for conceptualizing and managing organizational innovation. They present a dynamic model of the interactions between four key components of creativity - product, person, process, and press - which function as building blocks of innovation. This volume sheds new light on the nature of innovative products and the processes that generate them, the psychological characteristics of innovative people, and the environments that facilitate innovation. It also fills a significant gap in the current literature by addressing the paradoxical quality of organizational innovation, which may be both helped and hindered by the same factors. The authors demonstrate that with proper measurement and management, organizations can effectively encourage individuals to produce and take advantage of novel ideas.

The chapters in this book all appeared originally in the European Journal for High Ability, reprinted here to expose them to a North American readership. They cover basic concepts in the study of giftedness, cognition and problem solving, musical talent and counseling. The authors come from a dozen different countries including the United Kingdom, Germany, Holland, France, Italy, and Sweden. Also represented are nations such as Russia, Poland, and Hungary, which have just emerged from a period of domination of ideas by a socio-political tradition known to North Americans only in the abstract.

Current conceptualizations of children's thinking tend to be unneccesarily narrow, and to focus on what might be called convergent thinking. As a result, invention and innovation are often underemphasized in schools. This text aims to encourage a broad understanding of intellect, and attempts to help teachers to recognize and foster more varied forms of intellectual activity in their students. It offers a review of recent theory on creativity, conceptualizing this as a matter of getting ideas, trying the new, branching out and the like, rather than of producing artistic or scientific products. It discusses the factors in the classroom which block this more divergent kind of thinking and suggests practical ways through which teachers can promote bolder and more innovative intellectual activity in their students. This involves not merely cognitive factors (thinking, remembering, reasoning) but also motivation (courage and willingness), personality (openness to the new, self-confidence), and social factors (nonconformity, ability to communicate ideas). The text is applied in orientation, contains a large number of examples and case studies, and aims at providing practicing teachers with guidelines.

In today's highly competitive market, organizations increasingly need to innovate in order to survive. Drawing on a wealth of psychological research in the field of creativity, David H. Cropley and Arthur J. Cropley illustrate practical methods for conceptualizing and managing organizational innovation. They present a dynamic model of the interactions between four key components of creativity - product, person, process, and press - which function as building blocks of innovation. This volume sheds new light on the nature of innovative products and the processes that generate them, the psychological characteristics of innovative people, and the environments that facilitate innovation. It also fills a significant gap in the current literature by addressing the paradoxical quality of organizational innovation, which may be both helped and hindered by the same factors. The authors demonstrate that with proper measurement and management, organizations can effectively encourage individuals to produce and take advantage of novel ideas.