From Conflict to Creativity offers leaders, managers, boards of directors, and team members a new way of thinking about conflict in the workplace. Within these pages, three experts in the field of workplace conflict resolution Sy, Barbara, and Daryl Landau present an innovative and proven collaborative model that can help resolve on-the-job conflicts and unleash the potential for creativity. Using the information and tools presented in this book can take any organization from a place that merely tolerates conflict to a dynamic environment that uses everyday differences to enhance creativity.

This book explores how creative ways of resolving social conflicts emerge, evolve, and subsequently come to be accepted or rejected in inter-group relations. Creativity and Conflict Resolution explores a subject with which political communities involved in social conflict have always grappled: creative ways of imagining and actualizing visions of conflict resolution. This is an ambitious question, which concerns human communities at many different levels, from families, regional-independence movements, and national governments, to inter-state alliances. The author argues that unconventional viability lies at the heart of creativity for transcending seemingly intractable inter-communal conflicts. More specifically, conflict resolution creativity is a social and epistemological process, whereby actors involved in a given social conflict learn to formulate an unconventional resolution option or procedure. Demystifying the origin of unthinkable breakthroughs for conflict resolution and illuminating theories of creativity based on 17 international case studies, this book will be of much interest to students of conflict resolution, peace and conflict studies, human security and IR. Tatsushi Arai is an Associate Professor of Peace and Conflict Transformation at the SIT Graduate Institute in Vermont, USA. He has a PhD in Conflict Resolution from George Mason University, Washington DC, and extensive practical experience in the field.

As group facilitators, we can use methods like Open Space Technology, Future Search, and World Café to reliably evoke "group magic" when working with larger groups. Yet how can we tap into the generative power of self-organization when working with smaller groups - especially ones facing complex and conflict-laden issues? In From Conflict to Creative Collaboration: A User's Guide to Dynamic Facilitation, collaboration consultant Rosa Zubizarreta describes a ground-breaking facilitation method for transforming unproductive group friction into effective teamwork and innovation. Dynamic Facilitation's agile approach draws task groups into a co-creative "flow zone" - where participants create practical and innovative solutions while building trust, empathy, and authentic community. Some of the distinctive features of this approach include welcoming solutions initially and throughout the process, as a form of rapid prototyping, and using empathic listenint to create safety for both solutions (creative thinking) and concers (critical thinking). As we create a "map" of the different perspectives that are present, we support participants' own ability to recognize patterns and create new meaning.

"The film industry in Hollywood now employs a global mode of production run by massive media conglomerates that mobilize hundreds, sometimes thousands, of workers for each feature film or television series. Yet these workers and their labor remain largely invisible to the general audience. In fact, this has been a signal characteristic of Hollywood style for more than a hundred years: everything that matters happens onscreen, not off. Consequently, when it comes to movies and television, the voices heard most often are those belonging to talent and corporate executives. Those we hear least are the voices of labor, and it's that silence we aim to redress in the collection of interviews in this book. Drawing from the detailed and personal accounts in this collection, we offer three interrelated propositions about the current state and future prospects of craftwork and screen media labor: 1. Craftwork exists within an intricate and intimate matrix of social relations. 2. Hollywood craftwork today constitutes a regime of excessive labor. 3. Screen media production is a protean entity. We organized the collection into three sections: company town, global machine, and fringe city. The first section refers to Hollywood's historic roots as a core component of the motion picture business. The second section engages more directly with the spatial dynamics of film and television production to underscore the economic and political structures that are integrating distant locations into the studios' mode of production. We close with a section on the visual effects sector, in which stories shared by vfx artists, advocates, and organizers specifically illustrate how the industry today relies on marginal institutions to sustain its power and profitability"--Provided by publisher.

The Innovation Code The Creative Power of Constructive Conflict Harmony is sublime in music but deadly to innovation. The only way to create new, hybrid solutions is to clash. Innovation happens when we bring people with contrasting perspectives and complementary areas of expertise together in one room. We innovate best with people who challenge us, not people who agree with us. It sounds like a recipe for chaos and confusion. But in The Innovation Code, Jeff DeGraff, dubbed the “Dean of Innovation,” and Staney DeGraff introduce a simple framework to explain the ways different kinds of thinkers and leaders can create constructive conflict in any organization. This positive tension produces ingenious solutions that go far beyond “the best of both worlds.” Drawing on their work with nearly half of the Fortune 500 companies, the DeGraffs help you harness the creative energy that arises from opposing viewpoints. They identify four contrasting styles of innovator—the Artist, the Engineer, the Athlete, and the Sage—and include exercises and assessments for building, managing, and embracing the dynamic discord of a team that contains all four. You can also figure out where you fit on the continuum of innovator archetypes. Using vivid examples, The Innovation Code offers four steps to normalize conflict and channel it to develop something completely new. By following these simple steps, you will get breakthrough innovations that are both good for you and your customers. This is a rigorous but highly accessible guide for achieving breakthrough solutions by utilizing the full—and seemingly contradictory—spectrum of innovative thinking.

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.

Although many leaders acknowledge and invest in creativity, we seldom see it hold a credible place in the business development process. Creativity at Work takes a practical approach to creativity, showing how to select practices to produce results and add value. The authors explain how to: * Understand the creative preferences of organizations, departments, work groups, and individuals * Identify and compare the different creativity profiles that describe specific purposes, practices, and people * Produce the desired results by developing the right practices * Blend creativity practices to meet the complex needs that characterize most work situations o Develop required creative abilities in a team and in oneself