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| 050 | 4 | _aBF311 .S547 2022 | |
| 082 | 0 | _a153 | |
| 100 | 1 | _aSherwood, Dennis. | |
| 245 | 1 | 0 |
_aCreativity for Scientists and Engineers : _bA Practical Guide. |
| 250 | _a1st ed. | ||
| 264 | 1 |
_aBristol : _bInstitute of Physics Publishing, _c2022. |
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| 264 | 4 | _c©2022. | |
| 300 | _a1 online resource (416 pages) | ||
| 336 |
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_aonline resource _bcr _2rdacarrier |
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| 490 | 1 | _aIOP Ebooks Series | |
| 505 | 0 | _aIntro -- Preface -- Acknowledgements -- Author biography -- Dennis Sherwood -- Foreword -- Introduction -- Outline placeholder -- The right answer -- Kepler's BIG IDEA -- The egg-shaped orbit -- 0.00429 and 5° 18′ -- What happened next -- Kepler re-visited -- Observation -- Curiosity -- Permission -- Luck -- Bisociation -- Knowledge -- Hard work -- Tenacity -- Failure -- Learning from mistakes -- Risk -- Don't fall in love with your own ideas -- No problem to solve -- References -- Chapter 1 What, precisely, is creativity? -- 1.1 Some dictionary definitions -- 1.2 My 'sound-bite' definition - just five words -- 1.3 Ideas as outcomes, ideas as questions -- 1.4 Invention and discovery -- 1.5 What's missing from the sound-bite? -- 1.6 What is 'new'? -- 1.7 It's difference that's important, not novelty… -- 1.8 …and the best way to discover differences is to be observant -- 1.9 Value -- References -- Chapter 2 Creativity in context -- 2.1 Creativity alone is not enough -- 2.2 A richer picture -- 2.3 Process 1 - Creativity -- 2.4 Process 2 - Evaluation -- 2.5 Processes 3 and 4 - Development and Implementation -- 2.6 The Target Diagram and skills -- References -- Chapter 3 The six domains of creativity -- 3.1 Creativity is not just about 'the better mousetrap' -- 3.2 Content -- 3.3 Process -- 3.4 Strategy -- 3.5 Structures -- 3.6 Relationships -- 3.7 You! -- 3.8 The importance of the organisational culture -- Chapter 4 Koestler's Law -- 4.1 Arthur Koestler's definition of creativity -- 4.2 The 'Eureka moment' myth -- 4.3 'But I'm not a creative person' -- 4.4 Creativity is all about patterns -- 4.5 'Bisociation' and 'thinking aside' -- 4.6 The more familiar the parts, the more striking the new whole -- 4.7 What Koestler's Law does, and doesn't, do -- 4.8 The Koestler Challenge -- References -- Chapter 5 Some more examples of Koestler's Law. | |
| 505 | 8 | _a5.1 Literature -- 5.2 Art -- 5.3 Chemistry -- 5.4 How chemistry made impressionist art happen… -- 5.5 …and how physics has facilitated contemporary art -- 5.6 History, politics, philosophy, and economics -- 5.7 Newton's Laws of Motion and Gravitation -- 5.8 A brief digression - coincidence, co-invention and the zeitgeist -- 5.9 The light bulb -- 5.10 Casa Batlló -- 5.11 The DC electric motor -- 5.12 The impossible building -- 5.13 Special relativity -- 5.14 The structure of DNA -- 5.14.1 DNA and X-ray crystallography -- 5.14.2 Photo 51 -- 5.14.3 Florence Bell -- 5.14.4 Sven Furberg -- 5.14.5 The diffraction pattern of a helix -- 5.14.6 James Watson -- 5.14.7 The triple helix -- 5.14.8 The missing Koestler's Law fragment -- 5.14.9 Jerry Donohue -- 5.14.10 The Nobel Prize -- 5.14.11 A moment to reflect -- 5.15 DNA - a final word -- References -- Chapter 6 The 'da Vinci problem' -- 6.1 Building on Koestler's Law -- 6.2 The helicopter that couldn't fly -- 6.3 The problem of the missing component -- 6.4 You might be a 'victim', now -- 6.5 Identify the missing component(s) as precisely as you can -- 6.6 Keep your eyes - and ears - open -- 6.7 Be patient -- 6.8 In conclusion -- References -- Chapter 7 Emergence - why some patterns are better than others -- 7.1 Emergence -- 7.2 Same components, different patterns -- 7.3 Not too little, not too much -- 7.4 Patterns within patterns -- 7.5 Emergence is often subjective -- 7.6 An enriched definition of creativity -- References -- Chapter 8 Knowledge, experience, learning, and unlearning -- 8.1 Where are the Koestler's Law 'components'? -- 8.2 Donald Hebb's Theory of Learning -- 8.3 The learning trap -- 8.4 Unlearning -- 8.5 Why is unlearning so difficult? -- 8.5.1 Love -- 8.5.2 Laziness -- 8.5.3 Fear -- 8.5.4 Arrogance -- 8.5.5 Unlearning is indeed difficult… -- 8.6 Hegel, and genetics -- 8.7 A brief pause…. | |
| 505 | 8 | _aReferences -- Chapter 9 How to have great ideas 'on demand' -- 9.1 InnovAction! -- 9.2 Step 1: Define the 'focus of attention' -- 9.3 Step 2: Individually and in silence, write down everything you know about the agreed focus of attention -- 9.4 Step 3: Share -- 9.4.1 What the 'share' is about -- 9.4.2 Managing the group dynamics -- 9.4.3 Self-facilitate -- 9.4.4 One point at a time -- 9.4.5 Writing on the flip-chart -- 9.4.6 Be succinct -- 9.4.7 Don't worry about structure -- 9.4.8 Don't argue… -- 9.4.9 …but do ask questions -- 9.4.10 Don't duplicate points already captured -- 9.4.11 Don't start generating ideas (yet!) -- 9.4.12 And eventually… -- 9.5 Step 4: Then choose one feature, and ask 'How might this be different?' -- 9.6 Step 5: Let it be… -- 9.7 Step 6: …and then, when that discussion runs out of steam, choose another feature and repeat Steps 4 and 5 -- 9.8 The nine dots puzzle revisited -- References -- Chapter 10 InnovAction! in action -- 10.1 Ideas for games based on chess -- 10.2 Some things we know about chess -- 10.3 Ideas, ideas, ideas… -- 10.3.1 Self-capture -- 10.3.2 'Hobbled' bishops -- 10.3.3 Taking turns -- 10.3.4 Square occupancy -- 10.3.5 The initial layout -- 10.3.6 Combinations -- 10.4 It really is as simple as that! -- 10.5 The central step - Step 4: 'How might this be different?' -- 10.5.1 Three key rules -- 10.5.2 Don't be negative -- 10.5.3 Don't lose the key questions… -- 10.5.4 …and keep a record of all the ideas -- 10.6 Different ways of being different -- 10.6.1 Size and scale -- 10.6.2 Sequence, flow and configuration -- 10.6.3 Function and scope -- 10.6.4 Roles and responsibilities -- 10.7 Some examples -- Reference -- Chapter 11 Springboards and retro-fits -- 11.1 InnovAction! is not the only way to have idea 'on demand' -- 11.1.1 The 'mountains and valleys' metaphor -- 11.1.2 InnovAction! - a springboard. | |
| 505 | 8 | _a11.2 Some other springboards -- 11.2.1 Challenge assumptions -- 11.2.2 Decomposing and recombining -- 11.2.3 Edward de Bono's 'PO' -- 11.3 Random words - a retrofit -- 11.4 Some other retro-fits -- 11.4.1 PO-2 -- 11.4.2 Simile, metaphor and analogy -- 11.4.3 Other people's shoes -- 11.4.4 Journeying -- 11.4.5 Visioning -- 11.4.6 Working backwards -- 11.5 Springboards and retrofits - which to use? -- References -- Chapter 12 Creativity workshops -- 12.1 Observation, curiosity and permission made real -- 12.2 The workshop themes -- 12.3 Who should participate? -- 12.4 How workshops are structured -- 12.4.1 Why off-site, and why two days? -- 12.4.2 The workshop agenda -- 12.4.3 Longer, and shorter, durations -- 12.5 The idea generation group briefs -- 12.6 Don't impose constraints on cost and resources -- 12.7 Creativity, not evaluation -- 12.8 Quantity, quantity, quantity -- 12.9 After the workshop -- 12.9.1 The workshop report -- 12.9.2 People keep thinking -- 12.9.3 The next step - wise evaluation -- References -- Chapter 13 Creativity in science and engineering -- 13.1 What this chapter is about -- 13.2 Detecting gravitational waves -- Why did it take so long? -- Professor Hough picks up the story… -- Professor Rowan continues (referring to Sir James Hough as Jim!): -- Jim Hough explains further: -- Back to Sheila Rowan: -- 13.3 Building Nemo -- So after that phone call, what happened? What changed? -- 13.4 Synthetic synapses -- 13.5 Biomimetic adhesives -- 13.6 The magic colouring sheet -- 13.7 Quantum entanglement, single-pixel cameras, and novel endoscopes -- 13.8 Keeping the UK's railways safe -- 13.9 The 'Medusa Effect' -- 13.10 Mixing things up: ellipsometry and strong coupling -- 13.11 Reducing noise -- 13.12 How nanopatterns made it from a semiconductor facility to an artist's print room -- 13.13 Newton's Rings and flat screens. | |
| 505 | 8 | _a13.14 Blue Plan-it® and Water ARC® -- How might this be different? -- References -- Chapter 14 Evaluation in context -- 14.1 Why wise evaluation is important -- 14.2 A very bad idea indeed -- 14.3 Not all ideas are good ones… -- 14.4 …and even good ideas can be fiercely opposed -- 14.5 How do you, and your organisation, evaluate ideas now? -- 14.5.1 Evaluating ideas wisely is really important -- 14.5.2 Some frequently-used methods -- 14.5.3 The boss knows best -- 14.5.4 (Apparently) no process -- 14.5.5 'Trial by ordeal' -- 14.5.6 Likes and dislikes -- 14.5.7 'Pros' and 'cons' -- 14.5.8 Evaluation by numbers -- References -- Chapter 15 How to evaluate ideas wisely -- 15.1 Features of a wise evaluation process -- 15.1.1 What does a well-designed evaluation process look like? -- 15.1.2 Consistency -- 15.1.3 Fairness -- 15.1.4 Balance -- 15.1.5 Completeness -- 15.1.6 Speed -- 15.1.7 Pragmatism -- 15.1.8 Transparency -- 15.1.9 Openness -- 15.1.10 How does your organisation's evaluation process rate? -- 15.2 An ideal process for wise evaluation -- 15.2.1 Overview -- 15.2.2 Step 1: Imagine the future -- 15.2.3 Step 2: What are the consequences? -- 15.2.4 Step 3: The journey -- 15.2.5 Step 4: How might all the problems be solved? -- 15.2.6 Step 5: The numbers -- 15.2.7 Step 6: The decision -- 15.3 The half-way house -- 15.4 Wise evaluation, Edward de Bono's 'hats', and the importance of language -- 15.5 'Evaluation Lite' -- 15.6 And so to development and implementation -- References -- Chapter 16 What is 'culture'? -- 16.1 The Covid-19 vaccine miracle -- 16.2 Language -- 16.3 Observation, curiosity and permission revisited -- 16.4 The wider picture - 'enablers' and 'motivators' -- References -- Chapter 17 Enablers -- 17.1 Budgets -- 17.2 Funding -- 17.3 Managing development and implementation -- 17.4 The idea archive -- 17.5 Physical environment. | |
| 505 | 8 | _a17.6 Behaviours. | |
| 520 | _aFilled with examples of creativity in science and engineering, and including a contributed chapter in which 13 contemporary scientists and engineers tell their own stories, this book is a practical 'how to' guide on how to have good ideas on demand, how to judge between good ideas and bad ones, and how to build a sustainable innovation culture. | ||
| 588 | _aDescription based on publisher supplied metadata and other sources. | ||
| 590 | _aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. | ||
| 650 | 0 | _aCognitive science. | |
| 650 | 0 | _aCreative ability in science. | |
| 650 | 0 | _aCreative ability in technology. | |
| 655 | 4 | _aElectronic books. | |
| 776 | 0 | 8 |
_iPrint version: _aSherwood, Dennis _tCreativity for Scientists and Engineers _dBristol : Institute of Physics Publishing,c2022 _z9780750349680 |
| 797 | 2 | _aProQuest (Firm) | |
| 830 | 0 | _aIOP Ebooks Series | |
| 856 | 4 | 0 |
_uhttps://ebookcentral.proquest.com/lib/orpp/detail.action?docID=31253152 _zClick to View |
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_c36809 _d36809 |
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