"The only sustainable form of business leadership is thought leadership-generating more great ideas faster than the competition. Bob Schmetterer, one of the truly creative minds in advertising, teaches leaders in every industry how to win big by thinking different. So make the leap . . . Read and learn from this genuinely important book." -William C. Taylor, Founding Editor, Fast Company "So what happens to advertising (and advertising agencies) when mass media totally falls apart? Here, in the middle of a smart ad man's autobiography, may lie the answer: Smart companies will use brilliant ad agencies to reinvent their products and the way they work. Big ideas still matter!" -Seth Godin, author, Survival Is Not Enough and Permission Marketing "This book contains great insight, great integrity, and clarity about the important part that values linked to understanding play in creative work. A very impressive work that is both inspiring and useful in today's competitive world." -Edwin Schlossberg, Designer, ESI Design "True business creativity is powerful and inspiring . . . and Bob's passion for it makes you want to be a part of it. Leap is a journey from Intel to Guggenheim's vision, passing from a 'branded' Argentinian bridge on the way to Perdue's chicken-making history . . . All four are creative business ideas made of both vision and actions, and Bob captures their essence masterfully." -Elio Leoni Sceti, EVP, Category Development, Reckitt Benckiser "Bob Schmetterer has always been an innovator in our business, and this book offers proof of why that is the case. His 'Creative Business Ideas' concept represents out-of- the-box thinking at its best. Anyone interested in the future of marketing communications and the critical role of creativity should read it." -O. Burtch Drake, President and CEO, American Association of Advertising Agencies "A key management challenge is how to enable an organization to grow, see new opportunities, and lead the market. Bob Schmetterer answers this important question and shares his insights in this highly readable book. I recommend it to all senior executives who are concerned with creativity and business growth." -Peter Lorange, President, International Institute for Management Development "Information to share and lessons to learn from a great mind. Leap makes fascinating reading. No wonder Bob Schmetterer was instrumental in launching our Revolvolution. The man is creativity embodied." -Hans-Olov Olsson, President and CEO, Volvo Car Corporation
Have we completely missed the point of the modern western revolution in the arts? Hugh Moss thinks so, and here he presents a refreshingly original and thought-provoking new approach to understanding art. It not only makes sense of western art over the past century or more, but applies equally to the art of any culture at any time, all within one enlightening framework that, well ... works. This new perspective is impossible to ignore - a theory that places art right at the centre of the evolution of human consciousness, as a key driver of the process. Argued with intelligence, panache and wit, The Art of Understanding Art provides a delightfully entertaining read that will change the way you think about and look at art, whether you are a collector (or would like to be), a connoisseur, an academic, a student or of course an artist (or would like to be). It is illustrated with intriguing skill, depth and humour by Peter Suart.
A compelling history of the national conflicts that resulted from efforts to produce the first definitive American dictionary of English In The Dictionary Wars, Peter Martin recounts the patriotic fervor in the early American republic to produce a definitive national dictionary that would rival Samuel Johnson's 1755 Dictionary of the English Language. But what began as a cultural war of independence from Britain devolved into a battle among lexicographers, authors, scholars, and publishers, all vying for dictionary supremacy and shattering forever the dream of a unified American language. The overwhelming questions in the dictionary wars involved which and whose English was truly American and whether a dictionary of English should attempt to be American at all, independent from Britain. Martin tells the human story of the intense rivalry between America's first lexicographers, Noah Webster and Joseph Emerson Worcester, who fought over who could best represent the soul and identity of American culture. Webster believed an American dictionary, like the American language, ought to be informed by the nation's republican principles, but Worcester thought that such language reforms were reckless and went too far. Their conflict continued beyond Webster's death, when the ambitious Merriam brothers acquired publishing rights to Webster's American Dictionary and launched their own language wars. From the beginning of the nineteenth century to the end of the Civil War, the dictionary wars also engaged America's colleges, libraries, newspapers, religious groups, and state legislatures at a pivotal historical moment that coincided with rising literacy and the print revolution. Delving into the personal stories and national debates that arose from the conflicts surrounding America's first dictionaries, The Dictionary Wars examines the linguistic struggles that underpinned the founding and growth of a nation.
At a time when the label "conservative" is indiscriminately applied to fundamentalists, populists, libertarians, fascists, and the advocates of one or another orthodoxy, this volume offers a nuanced and historically informed presentation of what is distinctive about conservative social and political thought. It is an anthology with an argument, locating the origins of modern conservatism within the Enlightenment and distinguishing between conservatism and orthodoxy. Bringing together important specimens of European and American conservative social and political analysis from the mid-eighteenth century through our own day, Conservatism demonstrates that while the particular institutions that conservatives have sought to conserve have varied, there are characteristic features of conservative argument that recur over time and across national borders. The book proceeds chronologically through the following sections: Enlightenment Conservatism (David Hume, Edmund Burke, and Justus Möser), The Critique of Revolution (Burke, Louis de Bonald, Joseph de Maistre, James Madison, and Rufus Choate), Authority (Matthew Arnold, James Fitzjames Stephen), Inequality (W. H. Mallock, Joseph A. Schumpeter), The Critique of Good Intentions (William Graham Sumner), War (T. E. Hulme), Democracy (Carl Schmitt, Schumpeter), The Limits of Rationalism (Winston Churchill, Michael Oakeshott, Friedrich Hayek, Edward Banfield), The Critique of Social and Cultural Emancipation (Irving Kristol, Peter Berger and Richard John Neuhaus, Hermann Lübbe), and Between Social Science and Cultural Criticism (Arnold Gehlen, Philip Rieff). The book contains an afterword on recurrent tensions and dilemmas of conservative thought.