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1

Berger, Florence. INNovation: Creativity techniques for hospitality managers. New York: J. Wiley, 1990.

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2

Mattimore, Bryan W. 99% inspiration: Tips, tales & techniques for liberating your business creativity. New York: Amacom, 1994.

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3

1961-, Brown Paul Lockwood, ed. The innovation equation: Building creativity and risk taking in your organization. San Francisco: Jossey-Bass, 2003.

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4

International Conference on Visual Information Engineering (2006 Bangalore, India). The IET International Conference on Visual Information Engineering: VIE 2006 : innovation and creativity in visual media processing and graphics : 26-28 September 2006, Leela Palace, Bangalore, India. London: Institution of Electrical Engineers, 2006.

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5

Drawing on the artist within: A guide to innovation, invention, imagination, and creativity. New York: Simon and Schuster, 1986.

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6

Drawing on the artist within: A guide to innovation, invention, imagination and creativity. London: HarperCollins, 1995.

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7

Drawing on the artist within: A guide to innovation, invention, imagination and creativity. London: Collins, 1987.

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8

Edwards, Betty. Drawing on the artist within: A guide to innovation, invention, imagination and creativity. New York: Simon and Schuster, 1986.

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9

Instant Creativity: Simple Techniques to Ignite Innovation & Problem Solving. Kogan Page, 2007.

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10

Mattimore, Bryan W. 99% Inspiration: Tips, Tales & Techniques for Liberating Your Business Creativity. AMACOM, 1993.

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11

Byrd, Jacqueline, and Paul Lockwood Brown. Innovation Equation: Building Creativity and Risk-Taking in Your Organization. Center for Creative Leadership, 2007.

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12

Frances, Hesselbein, and Johnston Rob 1961-, eds. On creativity, innovation, and renewal: A leader to leader guide. San Francisco: Jossey-Bass, 2002.

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13

Hesselbein, Frances, Rob Johnston, and The Drucker Foundation. On Creativity, Innovation and Renewal: A Leader to Leader Guide. Jossey-Bass, 2002.

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14

Kim, Steven. Essence of Creativity. Oxford University Press, 1990. http://dx.doi.org/10.1093/oso/9780195060171.001.0001.

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Challenging problems both attract and repel us. They frustrate us, accelerate our pulses, cause ulcers, and perhaps even curtail our lifespans. On the other hand, the knotty problems of life offer us food for thought, sustaining our creativity, and adding emotional spice to the human experience. We encounter difficult tasks day in and day out. The solutions to these problems must be sought with resourcefulness and creativity, for until now we have had little insight into the nature of these tasks, and even less into methods for resolving them. This unique book explores the nature of challenging problems in all walks of life, and describes the creative techniques for addressing them. It is particularly relevant for problems that admit no obvious solution, whether they concern scientific knowledge, technology, the arts, or social situations. By understanding the dynamics of problem solving in general, the author argues, we can better organize the pursuit of specific projects. The initial phase involves crystallizing our objectives and developing a coherent plan. The next step is to evaluate the results and determine whether the work should be concluded, begun anew, or given up altogether. With this general strategy, even seemingly overwhelming problems can be approached systematically and efficiently. The author goes beyond the normal distinction between routine and innovative activities, defining the role of creativity in novel decision-making. In addition, he distills the existing literature on creativity, innovation, and project management to present a concise set of strategies and practices that can be applied in a myriad of settings ranging from university laboratories to corporate planning centers. For the sake of concreteness, a number of examples from research and development environments demonstrate the book's basic principles in action, showing how even the most difficult problems can yield to knowledgeable ingenuity. Written in a clear, readable style, Essence of Creativity will appeal to a broad spectrum of readers: engineers, business managers, computer scientists, executives, cognitive psychologists, and educators in many fields, as well as general readers seeking effective ways to handle difficult problems.
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15

Landau, Barbara, Sy Landau, and Daryl Landau. From Conflict to Creativity: How Resolving Workplace Disagreements Can Inspire Innovation and Productivity. Jossey-Bass, 2001.

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16

Byrd, Jacqueline, and Paul Lockwood Brown. The Innovation Equation: Building Creativity and Risk-Taking in Your Organization (The Practicing Organization Development Series). Pfeiffer, 2002.

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17

Liebson, Milt. Direct Wood Sculpture: Technique- Innovation - Creativity. Schiffer Publishing, 2000.

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18

Kulkarni, Kunal, James Harrison, Mohamed Baguneid, and Bernard Prendergast, eds. Plastic and reconstructive surgery. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780198729426.003.0029.

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In plastic and reconstructive surgery, innovation and creativity have been foremost, with science and evidence following. Unlike for a number of other specialties, the advances in plastic surgery have largely come from imagination, innovations, and trial and error, rather than from scientific trials. Somewhat more than for the rest of surgery, in plastics (where the art and craft of each particular surgeon counts immeasurably), randomized controlled trials of techniques have failed to be generated in the past, due to the difficulty of objectively assessing the success of surgery with an aesthetic-based nature. Consequently, evidence-based study of plastic surgery is a relatively new and developing field. This chapter focuses on the growing importance of evidence-based surgery in this specialty, showing that scientific trials are now being performed with increasing frequency.
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19

Beardon, Colin. DIGITAL CREATIVITY READER (Innovations in Art and Design 1). Taylor & Francis, 2002.

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20

The Secrets of Story: Innovative Tools for Perfecting Your Fiction and Captivating Readers. Writer's Digest Books, 2016.

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21

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the process develop musical agency and hone the 21st-century learning and innovation skills of collaboration, communication, creativity, and critical thinking. Finally the chapter addresses the artistic processes of creating, performing, and responding, which are the cornerstones of the 2014 National Core Arts Standards in the United States.
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22

Kottler, Jeffrey, and Richard S. Balkin. Myths, Misconceptions, and Invalid Assumptions About Counseling and Psychotherapy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090692.001.0001.

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In Myths, Misconceptions, and Invalid Assumptions about Counseling the authors examine the science, art, and certainties and uncertainties of psychotherapy. In this book we have selected several dozen issues in our field, many of which are considered generally accepted principles or operating assumptions. We put them under close scrutiny to examine them more carefully. We’ve considered a wide variety of subjects, ranging from those that relate to our espoused beliefs, theoretical models, favored techniques and interventions, to accreditation and licensing requirements. We have also addressed some of the sanctioned statements about the nature and meaning of empirically supported and evidence based treatments. We even question what we can truly “know” for sure and how we can be certain these things are true. When considering the efficacy of psychotherapy, there is overwhelming evidence that the vast majority of clients are significantly improved as a result of our treatments. Advances in the models, methods, and strategies during the last few decades have allowed us to work more swiftly and efficiently, to reach a much more economically and culturally diverse population. But do we really know and understand as much as we pretend to? Is the foundation upon which we stand actually as stable and certain as we think, or at least claim to believe? Are the major assumptions and “truths” that we take for granted and accept as foundational principles really supported by solid data? And how might these assumptions, beliefs, and constructs we hold so sacred perhaps compromise and limit increased creativity and innovation? These are some of the uncomfortable and provocative questions that we wish to raise, and perhaps challenge, so that we might consider alternative conceptions that might further increase our effectiveness and improve our knowledge base grounded with solid evidence.
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23

Denton, Rebecca A., and D. Keith Denton. The Toolbox for the Mind. ASQ Quality Press, 1999.

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