From Conflict To 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.

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.

Contributes to the tide of activism that is calling for higher ethical standards and corporate social responsibility within the corporate world. This book offers a way to look at a company, work, a product and company organization.

"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.

Using vivid examples, this rigorous but highly accessible guide offers four steps to normalize conflict and channel it to develop breakthrough innovations that are both good for you and your customers. --

Based on several years of ethnographic fieldwork, the book explores life in and around a Luo-speaking village in western Kenya during a time of death. The epidemic of HIV/AIDS affects every aspect of sociality and pervades villagers' debates about the past, the future and the ethics of everyday life. Central to such debates is a discussion of touch in the broad sense of concrete, material contact between persons. In mundane practices and in ritual acts, touch is considered to be key to the creation of bodily life as well as social continuity. Underlying the significance of material contact is its connection with growth – of persons and groups, animals, plants and the land – and the forward movement of life more generally. Under the pressure of illness and death, economic hardship and land scarcity, as well as bitter struggles about the relevance and application of Christianity and 'Luo tradition' in daily life, people find it difficult to agree about the role of touch in engendering growth, or indeed about the aims of growth itself.

Negotiation is stuck. It's time for something new. Almost everything is negotiable. Almost every interaction is a negotiation. And in no field is this clearer than in business, where every day we work with others to get things done. But when we have real differences, is win-win always possible? Or must every negotiation be a zero-sum battle, with a winner and a loser? Over the last half century, two opposing philosophies have ruled the field of negotiation: the win-lose, tooth-and-nail approach of training guru Chester Karrass; and the win-win, "principled" creed of Getting to Yes, developed by Roger Fisher and William Ury. But neither approach fully meets the challenge of today's volatile, disruptive, ultracompetitive business environment, where strategic problem-solving is of critical importance. In Creative Conflict, negotiation experts Bill Sanders and Frank Mobus provide something new. They use a dynamic, dialectical approach to show how negotiations are driven by competition and cooperation at the same time. Counterintuitively, they reveal that conflict lies at the heart of more profitable agreements. They believe that when we tiptoe around conflict, we negotiate in a half-hearted way that limits our results. By contrast, creative negotiators probe and push until they hit a wall of disagreement, and then they figure out how to get past it. The authors construct a clear and useful framework based on three distinct negotiating contexts: Bargaining, Creative Dealmaking, and Relationship Building. They instruct readers on how to skillfully pursue their fair share while simultaneously seeking ways to expand a deal's scope and value for both sides.