Ebook Download No More Teams!: Mastering the Dynamics of Creative CollaborationBy Michael Schrage

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No More Teams!: Mastering the Dynamics of Creative CollaborationBy Michael Schrage

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For organizations that care about innovation,  individual creativity isn't enough anymore -- people  need to be in creative, collaborative  relationships. But without the knowledge and tools for  building these relationships, innovation expert Michael  Schrage argues, one will not be successful in the  offices of today and even less so in the  "virtual" offices of tomorrow. No More  Teams gives readers the tools and  techniques to go beyond the lazy cliches of  "teamwork" to the practical benefits of  collaboration. When Schrage studied the world's greatest  collaborations -- including Wozniak and Jobs,  Picasso and Braque, Watson and Crick -- he found that  instead of relying on charisma, they all created  "shared spaces" where they could play with  their ideas. By effectively using technological  tools available in most workplaces -- anything from  a felt tip pen and a napkin to specialized  computer software - -you can literally map your  discussion as it is happening, making it possible to  keep all the good ideas, cope with every objection,  handle conflicts as they arise, and, ultimately,  master the unknown.

• Sales Rank: #245786 in Books
• Published on: 1995-04-01
• Released on: 1995-04-01
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .50" w x 5.50" l, .77 pounds
• Binding: Paperback
• 272 pages

Features

• ISBN13: 9780385476034
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
"Michael  Schrage has written a magical book. Yes, it is 'about'  the effects of new technologies on how we think,  collaborate, organize, and solve problems. But it  is much more, a pioneering exploration qf  language and creation in the workplace, in the world."  -- Tom Peters, author of Thriving On  Chaos

From the Inside Flap
For organizations that care about innovation, individual creativity isn't enough anymore -- people need to be in creative, collaborative relationships. But without the knowledge and tools for building these relationships, innovation expert Michael Schrage argues, one will not be successful in the offices of today and even less so in the "virtual" offices of tomorrow. "No More Teams gives readers the tools and techniques to go beyond the lazy cliches of "teamwork" to the practical benefits of collaboration. When Schrage studied the world's greatest collaborations -- including Wozniak and Jobs, Picasso and Braque, Watson and Crick -- he found that instead of relying on charisma, they all created "shared spaces" where they could play with their ideas. By effectively using technological tools available in most workplaces -- anything from a felt tip pen and a napkin to specialized computer software - -you can literally map your discussion as it is happening, making it possible to keep all the good ideas, cope with every objection, handle conflicts as they arise, and, ultimately, master the unknown.

From the Back Cover
No More Teams! goes beyond the faddish cliches of teams to explain how creative relationships really work. It sweeps away the pop mythology of teamwork to offer practical tools and techniques for tapping the interpersonal power of collaboration. Creative collaboration - not the politicized realities of teams - is the essential relationship for generating effective innovation and ideas in organizations.

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PDF Ebook The Wild PartyBy Joseph Moncure March

PDF Ebook The Wild PartyBy Joseph Moncure March

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The Wild PartyBy Joseph Moncure March

PDF Ebook The Wild PartyBy Joseph Moncure March

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A 1922 book of poems, newly illustrated. "The Wild Party" like its title, concerns a long night in an Evelyn Waugh type world where bohemia rules and alcoholic excesses lead to violent and disturbing ends.

• Sales Rank: #2010620 in Books
• Published on: 1994-11-25
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .55" w x 5.43" l,
• Binding: Hardcover
• 120 pages

Review
"The Wild Party?. . . It's the book that made me want to be a writer."
-- William Burroughs
The Wild Party may have begun as a dark Prohibition-era morality fable, but, thanks . . . to Spiegelman, it lives again as a funhouse mirror of current fears."
-- "San Francisco Chronicle"

From the Inside Flap
"Spiegelman's drawings are like demonic woodcuts: every angle, line, and curve jumps out at you. Stylishness and brutishness are in perfect accord."
-- "The New York Times
Art Spiegelman's sinister and witty black-and-white drawings give charged new life to Joseph Moncure March's Wild Party, a lost classic from 1928. The inventive and varied page designs offer perfect counterpoint to the staccato tempo of this hard-boiled jazz-age tragedy told in syncopated rhyming couplets.
Here is a poem that can make even readers with no time for poetry stop dead in their tracks. Once read, large shards of this story of one night of debauchery will become permanently lodged in the brain. When The Wild Party was first published, Louis Untermeyer declared: "It is repulsive and fascinating, vicious and vivacious, uncompromising, unashamed . . . and unremittingly powerful. It is an amazing tour de force."

About the Author
Joseph Moncure March was a poet, journalist and screenwriter best known for his two verse narratives, The Wild Party and The Set-Up, the story of a washed-up black boxer. An editor for "The New Yorker" in the 1920s, he died in 1977.
Art Spiegelman is the author of Maus, A Survivor's Tale, for which he received a special Pulitzer Prize in 1992. He was co-founder and editor of "Raw," the acclaimed magazine
of avant-garde comics, and is currently a staff artist for "The New Yorker" and comix editor at "Details" magazine. He is currently working on "Crime Doesn't Pay," an opera libretto about the history of comics. He lives in New York City with his wife, Francoise Mouly, and their two children, Nadja and Dashiell.

Untermeyer is a poet, biographer and critic and also America's most creative anthologist. Born in New York City, he failed to graduate high school and taught himself music, art and literature. He became poet in residence at various universities, writer for the Office of War Information, editor of the Armed Services Editions, and, after World War II, editor for a leading record company. He was appointed Consultant in Poetry at the Library of Congress for two years and was sent by the State Department to India, where he represented the United States at cultural conferences.

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Get Free Ebook Blood Deep (Blackthorn) (Volume 4)By Lindsay J. Pryor

Get Free Ebook Blood Deep (Blackthorn) (Volume 4)By Lindsay J. Pryor

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Blood Deep (Blackthorn) (Volume 4)By Lindsay J. Pryor

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"Bad can feel good, Jessie. Bad can feel as good as it can get."

The tattoos covering Eden Reece’s arm tell the tale of a con with an appetite for danger. Even so, arriving at The Circus – the criminal heart of Blackthorn – and demanding an audience with the notorious Pummel, is the sign of a death wish.

Jessie knows that Eden is trouble. Serious trouble. Held captive by Pummel, despite her powers, she also knows how dangerous a game Eden is playing. Yet she can’t ignore a connection far deeper than the physical spark between them – because Jessie has seen Eden before...

Jessie is the only one who can help Eden save those he loves. But as he uncovers her secrets one by one, he can’t ignore the emotions she stirs in him – feelings neither of them dare face. He risks death. If she trusts him, she risks a fate far worse.

As Pummel’s twisted plans become clear, there’s no doubt all hell risks breaking out in Blackthorn. With time running out, together Jessie and Eden might be the only ones who can stop it.

In a thrillingly sensual novel, the stakes in the dark world of Blackthorn just got higher.

What readers are saying about Blackthorn…

‘I am officially addicted to this series. Why, you ask? Because Lindsay Pryor is my kind of fearless author. She isn’t afraid to “go there”, to create characters and situations that challenge me as a reader.’ The Demon Librarian

‘Not only are Pryor’s characters and fathomlessly dark love stories fabulous, but her continual world building of Blackthorn blows me away.’ Gravetells.com

‘A shining, brilliant new talent in the Paranormal genre!’ CC MacKenzie

‘She writes paranormal romance mixed with urban fantasy the way I like it – clever world-building, intense characters and no easy options for them to take.’ Nocturnal Book Reviews

The Blackthorn Series
1. Blood Shadows
2. Blood Roses
3. Blood Torn
4. Blood Deep

• Sales Rank: #1864044 in Books
• Published on: 2014-10-24
• Released on: 2014-10-24
• Original language: English
• Number of items: 1
• Dimensions: 7.81" h x .97" w x 5.06" l, 1.00 pounds
• Binding: Paperback
• 430 pages

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Free Ebook Hearing Film: Tracking Identifications in Contemporary Hollywood Film MusicBy Anahid Kassabian

Free Ebook Hearing Film: Tracking Identifications in Contemporary Hollywood Film MusicBy Anahid Kassabian

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Hearing Film: Tracking Identifications in Contemporary Hollywood Film MusicBy Anahid Kassabian

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Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.

Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film . In the first section, "A Woman Scored," Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Desert Hearts, Bagdad Café, Dirty Dancing and Thelma and Louise. In "At the Twilight's Last Scoring," she looks at gender, race, sexuality and assimilation in the music of The Hunt for Red October, Lethal Weapon 2 and Indiana Jones and the Temple of Doom. And finally, in "Opening Scores," she considers how films such as Dangerous Minds, The Substitute, Mississippi Masala and Corrina, Corrina bring together several different entry points of identification through their scores.

Kassabian ensures that modern film criticism has a new chapter written through this book. Her important and long-overdue analysis is not to be ignored. Also includes eleven musical examples.

• Sales Rank: #2323415 in Books
• Published on: 2000-12-07
• Released on: 2001-01-11
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .46" w x 6.00" l, .74 pounds
• Binding: Paperback
• 200 pages

Review

'Refreshing in dealing with films of the 1980s and 1990s. It is also relatively rare to find film music books that seriously explore scores that rely to a large extent on popular music tracks. Hearing Film is a useful volume.' - Senses of Cinema

'No longer an esoteric domain limited to a few specialists, the world of film sound tracks has finally come into its own, thanks to books like Anahid Kassabian's Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Turning her attention from the (traditional, male, European) realm of classical Hollywood composers to the (contemporary, female, American) sphere of music supervisors and compiled scores, Kassabian brilliantly shows how contemporary film music anchors a gendered identification process. Hearing Film is not just first-rate scholarship, it's exciting reading!' - Rick Altman, University of Iowa Professor of Cinema and Comparative Literature

From the Back Cover
Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically. Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film.

After outlining the history of film scoring and discussing some basic techniques, Kassabian focuses on contemporary film sound tracks and the issues that they raise. In A WOMAN SCORED, Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Dirty Dancing, and Thelma and Louise. In AT THE TWILIGHT'S LAST SCORING, she looks at gender, race, sexuality, and assimilation in the music of The Hunt for Red October, Lethal Weapon 2, and Indiana Jones and the Temple of Doom. And, finally, in OPENING SCORES, she considers how films such as Dangerous Minds, Mississippi Masala, and Corrina, Corrina represent the best in contemporary scoring.

About the Author
Anahid Kassabian is Director of Postgraduate Research in the School of Music at the University of Liverpool, James and Constance Alsop Chair, and Editor of Music, Sound, and the Moving Image. She coedited the book Keeping Score: Music, Disciplinarity, Culture (1997) and has written numerous articles and book chapters on popular music, film music and feminist theory.

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