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In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process. \u003c\/p\u003e\u003cp\u003eLeski sees the creative process as being like a storm; it slowly begins to gather and take form until it overtakes us--if we are willing to let it. It is dynamic, continually in motion; it starts, stops, rages and abates, ebbs and flows. In illustrations that accompany each chapter, she maps the arc of the creative process by tracing the path of water droplets traveling the stages of a storm.\u003c\/p\u003e\u003cp\u003eLeski describes unlearning, ridding ourselves of preconceptions; only when we realize what we don't know can we pose the problem that we need to solve. We gather evidence--with notebook jottings, research, the collection of objects--propelling the process. We perceive and conceive; we look ahead without knowing where we are going; we make connections. 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A gamer and designer who depends on voice recognition shows Holmes his Wall of Exclusion, which displays dozens of game controllers that require two hands to operate; an architect shares her firsthand knowledge of how design can fail communities, gleaned from growing up in Detroit's housing projects; an astronomer who began to lose her eyesight adapts a technique called sonification so she can listen to the stars.\u003c\/p\u003e\u003cp\u003eDesigning for inclusion is not a feel-good sideline. Holmes shows how inclusion can be a source of innovation and growth, especially for digital technologies. It can be a catalyst for creativity and a boost for the bottom line as a customer base expands. 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We are highly social, crave Paleolithic snacks, and display some gendered difference resulting from mate selection. But we now find ourselves binge-viewing, texting while driving, and playing \u003ci\u003eMinecraft\u003c\/i\u003e. Only the collective acceleration of cultural and technological evolution explains this development. The evolutionary psychology of individuals--the drive for food and sex--explains some of our current habits, but our evolutionary success, Alex Bentley and Mike O'Brien explain, lies in our ability to learn cultural know-how and to teach it to the next generation. Today, we are following social media bots as much as we are learning from our ancestors. We are radically changing the way culture evolves.\u003c\/p\u003e\u003cp\u003eBentley and O'Brien describe how the transmission of culture has become vast and instantaneous across an Internet of people and devices, after millennia of local ancestral knowledge that evolved slowly. 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The average kitchen, for example, is home to stuff galore, and every appliance, every utensil, every thing, is compound-composed of tens, hundreds, even thousands of other things. Although each piece of stuff satisfies some desire, it also creates the need for even more stuff- cereal demands a spoon; a television demands a remote. Rich Gold calls this dense, knotted ecology of human-made stuff the \"Plenitude.\" And in this book-at once cartoon treatise, autobiographical reflection, and practical essay in moral philosophy-he tells us how to understand and live with it.\u003cbr\u003e \u003cbr\u003e Gold writes about the Plenitude from the seemingly contradictory (but in his view, complementary) perspectives of artist, scientist, designer, and engineer-all professions pursued by him, sometimes simultaneously, in the course of his career. \"I have spent my life making more stuff for the Plenitude,\" he writes, acknowledging that the Plenitude grows not only because it creates a desire for more of itself but also because it is extraordinary and pleasurable to create.\u003cbr\u003e \u003cbr\u003e Gold illustrates these creative expressions with witty cartoons. He describes \"seven patterns of innovation\"-including \"The Big Kahuna,\" \"Colonization\" (which is illustrated by a drawing of \"The real history of baseball,\" beginning with \"Play for free in the backyard\" and ending with \"Pay to play interactive baseball at home\"), and \"Stuff Desires to Be Better Stuff\" (and its corollary, \"Technology Desires to Be Product\"). Finally, he meditates on the Plenitude itself and its moral contradictions. How can we in good conscience accept the pleasures of creating stuff that only creates the need for more stuff? 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And this, according to the authors of \u003ci\u003eI'll Have What She's Having\u003c\/i\u003e, shapes-and explains-most of our choices. We're not just blindly driven by hard-wired instincts to hunt or gather or reproduce; our decisions are based on more than \"nudges\" exploiting individual cognitive quirks.\u003cbr\u003e \u003cbr\u003e \u003ci\u003eI'll Have What She's Having\u003c\/i\u003e shows us how we use the brains of others to think for us and as storage space for knowledge about the world. The story zooms out from the individual to small groups to the complexities of populations. It describes, among other things, how buzzwords propagate and how ideas spread; how the swine flu scare became an epidemic; and how focused social learning by a few gets amplified as copying by the masses. It describes how ideas, behavior, and culture spread through the simple means of doing what others do.\u003cbr\u003e \u003cbr\u003e It is notoriously difficult to change behavior. For every \"Yes We Can\" political slogan, there are thousands of \"Just Say No\" buttons. \u003ci\u003eI'll Have What She's Having\u003c\/i\u003e offers a practical map to help us navigate the complex world of social behavior, an essential guide for anyone who wants to understand how people behave and how to begin to change things.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52664637063441,"sku":"NLS9780262553803","price":0.0,"currency_code":"GBP","in_stock":true}]}],"url":"https:\/\/www.worldofbooks.com\/en-gb\/collections\/simplicity-design-technology-business-life-book-series.oembed","provider":"World of Books ","version":"1.0","type":"link"}