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About James C. Kaufman
Kaufman is the author or editor of 35 books either published or in press. These include Creativity 101 (Springer, 2009); Cambridge Handbook of Creativity (with Robert Sternberg; Cambridge, 2010); Essentials of Creativity Assessment (with Jonathan Plucker and John Baer; Wiley, 2008), and International Handbook of Creativity (with Sternberg; Cambridge, 2006). He has published more than 200 papers, chapters, and reviews. Kaufman has appeared on CNN, NPR, the 92nd Street Y, Redesign My Brain, and narrated the comic book documentary Independents; he has been interviewed for many newspapers, websites, and other publications.
Kaufman is the Past President of American Psychological Association's Division 10 (Aesthetics, Creativity, and the Arts). He is a Fellow of APA (Divisions 1, 5, 10, 46) and the Association for Psychological Science. Kaufman was a cofounding editor of both Psychology of Aesthetics, Creativity, and the Arts and Psychology of Popular Media Culture; he currently edits the International Journal of Creativity and Problem Solving. His awards include the 2003 Daniel E. Berlyne Award and the 2012 Paul Farnsworth Award from APA's Division 10, the 2008 E. Paul Torrance Award from the National Association of Gifted Children, the 2011-2012 Mensa Education & Research Foundation's Award for Excellence in Research, and the 2009 Early Career Research Award from the Western Psychological Association.
He is also a playwright/lyricist whose musical Discovering Magenta made its NYC debut in 2015.
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Case studies, personal accounts, and analysis show how to recognize and combat pseudoscience in a post-truth world.
In a post-truth, fake news world, we are particularly susceptible to the claims of pseudoscience. When emotions and opinions are more widely disseminated than scientific findings, and self-proclaimed experts get their expertise from Google, how can the average person distinguish real science from fake? This book examines pseudoscience from a variety of perspectives, through case studies, analysis, and personal accounts that show how to recognize pseudoscience, why it is so widely accepted, and how to advocate for real science.
Contributors examine the basics of pseudoscience, including issues of cognitive bias; the costs of pseudoscience, with accounts of naturopathy and logical fallacies in the anti-vaccination movement; perceptions of scientific soundness; the mainstream presence of “integrative medicine,” hypnosis, and parapsychology; and the use of case studies and new media in science advocacy.
David Ball, Paul Joseph Barnett, Jeffrey Beall, Mark Benisz, Fernando Blanco, Ron Dumont, Stacy Ellenberg, Kevin M. Folta, Christopher French, Ashwin Gautam, Dennis M. Gorman, David H. Gorski, David K. Hecht, Britt Marie Hermes, Clyde F. Herreid, Jonathan Howard, Seth C. Kalichman, Leif Edward Ottesen Kennair, Arnold Kozak, Scott O. Lilienfeld, Emilio Lobato, Steven Lynn, Adam Marcus, Helena Matute, Ivan Oransky, Chad Orzel, Dorit Reiss, Ellen Beate Hansen Sandseter, Kavin Senapathy, Dean Keith Simonton, Indre Viskontas, John O. Willis, Corrine Zimmerman
Rapid technological change, global competition, and economic uncertainty have all contributed to organizations seeking to improve creativity and innovation. Researchers and businesses want to know what factors facilitate or inhibit creativity in a variety of organizational settings. Individual Creativity in the Workplace identifies those factors, including what motivational and cognitive factors influence individual creativity, as well as the contextual factors that impact creativity such as teams and leadership.The book takes research findings out of the lab and provides examples of these findings put to use in real world organizations.
- Identifies factors facilitating or inhibiting creativity in organizational settings
- Summarizes research on creativity, cognition, and motivation
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What is creativity? How does it work? How does it flourish in individuals and organizations? Now in its second edition, this bestselling introductory text--written by one of the world's leading experts on the psychology of creativity--is completely updated and expanded to reflect the tremendous growth in this field. In a redesigned, reader-friendly format, the text surveys the latest theories and research to provide key information about what we know (and don't know) about creativity including its many definitions and measures. It addresses how creativity operates on individual and social/environmental levels, and the effects and outcomes of the creative mind.
This much-praised book is an ideal brief text for courses on creativity in psychology, education, business, and other fields, as well as cross-disciplinary seminars and programs in creativity studies.
New to the Second Edition:
Completely updated and expanded with new theories and research
Restructured to enhance flow of information and ease of use
New chapters on measuring creativity, creativity and mental health, creative environments, how creativity is perceived by self and society, and its positive and negative aspects
Coverage of new models and frameworks
Expanded coverage of creativity and motivation, mental illness, and mood; history of creativity research; the creative process; and neuroscientific theories and approaches
Thorough reconceptualization of creativity and personality
New content on differences between creativity, imagination, and innovation
Expanded coverage of creativity assessment
Surveys theory, research, and applications of creativity concisely and accessibly
Written in an engaging style by a world-renowned creativity expert
Ideal for courses on creativity in psychology, education, business, and other fields, as well as cross-disciplinary seminars
Experts describe current perspectives and experimental approaches to understanding the neural bases of creativity.
This volume offers a comprehensive overview of the latest neuroscientific approaches to the scientific study of creativity. In chapters that progress logically from neurobiological fundamentals to systems neuroscience and neuroimaging, leading scholars describe the latest theoretical, genetic, structural, clinical, functional, and applied research on the neural bases of creativity. The treatment is both broad and in depth, offering a range of neuroscientific perspectives with detailed coverage by experts in each area. The contributors discuss such issues as the heritability of creativity; creativity in patients with brain damage, neurodegenerative conditions, and mental illness; clinical interventions and the relationship between psychopathology and creativity; neuroimaging studies of intelligence and creativity; the neuroscientific basis of creativity-enhancing methodologies; and the information-processing challenges of viewing visual art.
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The Creative Self reviews and summarizes key theories, studies, and new ideas about the role and significance self-beliefs play in one’s creativity. It untangles the interrelated constructs of creative self-efficacy, creative metacognition, creative identity, and creative self-concept. It explores how and when creative self-beliefs are formed as well as how creative self-beliefs can be strengthened. Part I discusses how creativity plays a part in one’s self-identity and its relationship with free will and efficacy. Part II discusses creativity present in day-to-day life across the lifespan. Part III highlights the intersection of the creative self with other variables such as mindset, domains, the brain, and individual differences. Part IV explores methodology and culture in relation to creativity. Part V, discusses additional constructs or theories that offer promise for future research on creativity
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The Routledge International Handbook of Research on Teaching Thinking is a comprehensive guide to research on teaching thinking. Teaching thinking is key to growing a more successful economy, is needed for increased democratic engagement and is vital for the well-being of individuals faced with the complexity of a globalised world. However, there are questions about what we mean by ‘thinking’, how best to teach it and how best to assess it, and it is these questions that this handbook explores and addresses.
Containing surveys and summaries of international, cutting-edge research on every aspect of teaching thinking in a range of contexts, the handbook is thorough in its delivery, examining many different approaches and methods to help readers understand what teaching thinking is and how we can best take this movement forward. Key topics include:
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