Why do some people seem more creative than others? How do brilliant minds gain key card access to unexplained depths of power and illumination while others struggle simply to choose a tie? Studies have demonstrated that creativity isnt necessarily linked with intelligence, yet our most profound philosophers and academic minds have yet to crack the creative genius code. Until now. The most current research into the nature of consciousnessour sense of existencehas shed new insight into and sparked provocative discussion on the origins of creative genius and the ideal conditions for channeling heightened creativity.

The secret to the creative genius is revealed! Being a genius is the realized possibility of living fully by one's inner resources (from the heart) and bringing these out in a tangible form (through the head). It is the perfect combination between spirituality and science. When both dimensions and qualities come together as one, a genius is produced. It has always been one of our greatest desires to reach the state of genius. It is the greatest dream of mankind, and the intense longing for it has followed us throughout history. The great geniuses we know seem so far above us that they appear almost impossible to reach. We look upon such people as divinely gifted and endowed with what appear to be supernatural powers. How is it possible to reach this state, upon which our greatest achievements have been built? The Secret to the Creative Genius Revealed answers this question as it reveals the true secret to the creative genius. It tells the principle (The Genius Factor) by which all great geniuses have worked. Through this book, we can all tap into our genius potential. The whole process falls into the realm of outer science meeting inner science.In other words, once we live by our true nature and original intent of being whole and complete, integrating material and spiritual life, we are genius. Born in Bavaria, Matthias Schubel has recently returned to Germany after living in Asia for the past seventeen years. He considers himself a New Age writer focusing on bridging Western science with Eastern philosophy. For more information visit www.matthiasschuebel.com or email info@matthiasschuebel.com. Publisher's website: http: //sbpra.com/MatthiasSchuebe

A dazzling look at the artists working on the frontiers of science. In recent decades, an exciting new art movement has emerged in which artists utilize and illuminate the latest advances in science. Some of their provocative creations—a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang (pictured on the cover)—can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google’s Creative Lab, and the MIT Media Lab. In Colliding Worlds, Arthur I. Miller takes readers on a wild journey to explore this new frontier. Miller, the author of Einstein, Picasso and other celebrated books on science and creativity, traces the movement from its seeds a century ago—when Einstein’s theory of relativity helped shape the thinking of the Cubists—to its flowering today. Through interviews with innovative thinkers and artists across disciplines, Miller shows with verve and clarity how discoveries in biotechnology, cosmology, quantum physics, and beyond are animating the work of designers like Neri Oxman, musicians like David Toop, and the artists-in-residence at CERN’s Large Hadron Collider. From NanoArt to Big Data, Miller reveals the extraordinary possibilities when art and science collide.

The present scenario of society and education is interwoven due to the emerging in impacts of science and technology and information communication revolution. Revolutions are not produce by mediacratic mind but by an innovative and creative mind. Mind has put on intensified extensive possibilities of exploring new dimensions, new ideas and new diversions. The habit of persistent thinking, problem solving abilities, reflective potential of a person depends upon how such people manage their motivational itself regulated learning. It is the inner urge of a person to grow, to discover explore and navigate any new idea which is facilitated by many factors on research studies revealed. Family exposure, environmental challenges, attitude, conducive support ability, motivational makeup and self-regulation also. The present study has been planned and designed to study as to how the very forceful psychological component of the creative structure of person’s mind inter play with the academic success of person. The problem, therefore has been stated as follows ‘A STUDY OF MOTIVATIONAL AND SELF-REGULATED LEARNING COMPONENT OF ACADEMIC PERFORMANCE OF CREATIVE STUDENTS BELONGING TO SENIOR SECONDARY LEVEL’

In Understanding Creativity, authors John S. Dacey and Kathleen H. Lennon offer a thorough examination of the three factors - biological, psychological, and social - that contribute to the creative process. In clear and lively language, this book explores a breadth of topics on creativity including: how creative people operate as successful and imaginative problem solvers, the essential role self-control plays in realizing creative potential, and the most current discoveries about how the brain works on the neuronal and chemical levels. Most important, the book presents an innovative model that integrates the biological, psychological, and social elements and reflects the most significant advances in current creativity research.

Creativity is the very life blood of human civilization. It is the potentiality which influences human activity in almost all spheres of life. Most of the changes and advancements in the society are the products of creativity. The future of the mankind mainly depends upon the creative abilities of its people. Considering the importance of creativity, this study has been taken up to study the creativity of junior college students. The results indicate that girls are better in creativity than boys, rural students are poor in their creativity than their counterparts, high creative students are characterised by high intelligence, science students are with high creativity than arts students, and high creatives are from high socio-economic status families. Contents: Introduction, Review of Related Research Studies, Statement of the Problem and Hypotheses, Variables of the Study, Method of Investigation, Results and Discussion, Summary and Conclusions, Educational Implications, Limitations and Suggestions for Further Research.

THE HANDBOOK OF INTERIOR DESIGN The Handbook of Interior Design offers a compilation of current works that inform the discipline of interior design. These examples of design scholarship present a detailed overview of current research and critical thinking. The volume brings together a broad range of essays from an international group of scholars who represent the diversity of work in the field. Intended to engage those involved in the study and practice of interior design, the Handbook considers the connections between theory, research, and practice that shape the field of interior design, as well as the theoretical perspectives that inform the field. It contains over thirty essays which together demonstrate the wide range of opinions and knowledge in the discipline, grouped in sections to reflect key components of their content. A close reading of the essays will uncover contradictory as well as supporting positions on aspects of interior design, challenging the reader to think critically and develop a personal stance toward the subject.

This book, Addiction to Recovery: Unlocking Your Potential, is an accumulation of existential realization, many resources, years of recovery, education, insights, and years working in the field of addiction, with all adepts in the goal of personal transformation from addiction to recovery. This is an integrative approach to living in wellness of recovery. I vacated my own mind through deep personal process, my own form of meditation, and this book came about. My hope is this book unlocks the potential that advances new insight into the recovery process for each individual by reframing the process in such a way that the right interpretation by the reader will help recovery click into place. What we need to celebrate in recovery is the self-discovery of the individual. I offer my carefully considered overviews and assessments on the best-known treatments (theories) connected to recovery. I have provided a new outlook as a guide for the unwary who had failed at recovery in the past and those just coming into recovery for the first time. I count myself among the autodidacts, the self-taught perpetual student fueled by a passion for new answers and a sense of mission.

Now in its seventh edition, Creativity in the Classroom helps teachers link creativity research and theory to the everyday activities of classroom teaching. Ideal reading for any course dealing wholly or partially with creativity and teaching, this foundational textbook covers definitions, research, and theory in the first half, and reflects on classroom practices in the second. Thoroughly revised and updated, the seventh edition features new research on neuroscience and creativity in specific disciplines; new sections on social-emotional learning, teaching engineering, and leadership; and an entire new chapter on building creativity at the school or district level.