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. Explores how beliefs about one’s creativity are part of one’s identity Investigates the development of self-beliefs about creativity Identifies external and personality factors influencing self-beliefs about creativity Incorporates worldwide research with cross-disciplinary contributors

Everyone wants to be more creative. Being creative makes life more fun and interesting. But many believe the common misconception that creativity is something you are born with and others can only envy. In Change Your Mind, Rod Judkins reveals that ‘creative’ people are no more creative than the rest of us. Rather, their gift is that they believe they are creative, and because of this, they are. Many of these people lack traditional artistic abilities (Francis Bacon couldn’t draw, so he didn’t; Andy Warhol couldn’t paint, so he didn’t) but that doesn’t stop them. This self-belief accounts for 90 per cent of their success. Creativity is a skill that everyone can learn and benefit from, whether you’re trying to start your own business, write music, come up with new ideas at work or just change your way of looking at the world. Follow theses 57 insider tips, which include nuggets of wisdom such as the importance of focus, why you should never wait for inspiration and how you should always turn a failure into success. With real-life insights into the minds of writers, artists and musicians, from Picasso to Paul McCartney, Change Your Mind will unlock the creative genius you always knew you were.

Whether you're writing a novel, painting with watercolors, composing a symphony, or baking peanut butter cookies, creativity plays a crucial role in achieving satisfaction and excellence. But, for many of us, accessing our creative core is difficult, if not impossible. Now, acclaimed film producer Don Hahn offers his own unorthodox, yet highly effective methods for reawakening the creative spirit.

An inspiring interactive guide to embracing imperfection and creating space for creativity in your mind and your life. “Give yourself margin” is a sewing maxim about leaving enough excess fabric to account for potential mistakes. This book from successful designer Stacie Bloomfield is about giving yourself the space—the mental margin—to reconnect with your creative self by trying new things and, yes, even by failing sometimes. With lush illustrations, empowering interactive prompts, and inspiring personal stories, Give Yourself Margin is perfect for anyone who is looking to rediscover their spark.

From the best-selling author of Gratitude, On the Move, and Musicophilia, a collection of essays that displays Oliver Sacks's passionate engagement with the most compelling and seminal ideas of human endeavor: evolution, creativity, memory, time, consciousness, and experience. Oliver Sacks, a scientist and a storyteller, is beloved by readers for the extraordinary neurological case histories (Awakenings, An Anthropologist on Mars) in which he introduced and explored many now familiar disorders--autism, Tourette's syndrome, face blindness, savant syndrome. He was also a memoirist who wrote with honesty and humor about the remarkable and strange encounters and experiences that shaped him (Uncle Tungsten, On the Move, Gratitude). Sacks, an Oxford-educated polymath, had a deep familiarity not only with literature and medicine but with botany, animal anatomy, chemistry, the history of science, philosophy, and psychology. The River of Consciousness is one of two books Sacks was working on up to his death, and it reveals his ability to make unexpected connections, his sheer joy in knowledge, and his unceasing, timeless project to understand what makes us human.

The creator of the worldwide bestselling coloring books is back with a new book to unlock that inner creative lurking in us all, a guide that encourages comfort, pushes us to experiment, and above all, empowers us to discover joy in our own lives In 30 Days of Creativity, colorist Johanna Basford takes you on a journey of imaginative prompts and inspiring ideas that will kick-start your creativity. A mix of whimsical doodle pages, expert artistic advice, and simple step-by-step drawing guides, the book celebrates the things that bring us comfort and joy, from scrumptious ice cream cones to flourishing potted plants. And of course, there's plenty of pages to color when you find yourself in flow and want to remain in the creative bubble a little longer. For those of us who struggle to make time for self-care, the prompt to pick up your book each day will soon become a creative habit that allows a little calm into your life.

The Creative Self engages with the work of the psychoanalyst D.W. Winnicott to develop alternative ways of thinking about key issues at the heart of pedagogy; specifically pedagogic relationships, creativity, defiance and compliance. These issues underpin the desires and defences of professionals located in educational institutions, such as the desire to know what is best, to know how to reach all learners, normalised expectations of behaviours and outcomes, and sometimes challenging engagements with students and the curriculum. Each chapter provides both a theoretical focus and illustrative demonstrations of the ways in which Winnicott’s theories may be relocated and used productively as tools for professional and academic reflexivity. By building extensively on Winnicott’s understanding of the ways in which relationships facilitate (or hinder) the development of the self, this book extends his clinical focus on parental and analytical relationships to think about the ways in which the pedagogic relationship can provide an environment in which people may (or may fail to) develop as learners. This approach provides powerful ways of thinking about pedagogy and pedagogic relationships that stand apart from the cognitive and rationalist tradition. This focus can be used constructively to support people working in educational settings to re-establish a sense of personal and professional autonomy in an environment recently typified by compliance. The Creative Self is an engaging and innovative read appealing to postgraduate students, teachers, researchers and academics with a desire for a new analytic lens through which to explore the educational experiences of both learners and teachers in schools, colleges and universities.