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Maker, C. J.. (2001). DISCOVER: Assessing and developing problem solving. Gifted Education International. 15(3), 232-251.
_____. (2004). Creativity and multiple intelligences: The DISCOVER project and research. In Lau, S., Hui, N. N. A., Ng, Y. C. G. (Eds.) Creativity: When East Meets West. (pp. 341-392) Singapore: World Scientific Publishing Co. Pte. Ltd.
_____. (2005). The DISCOVER Project: Improving Assessment and Curriculum for Diverse Gifted Learners. Senior Scholars Series. Storrs, CT: National Research Center on the Gifted and Talented.
Maker, C. J., Rogers, J. A., Nielson, A. B., & Bauerle, P. (1996). Multiple Intelligences, problem solving, and diversity in the general classroom. Journal for the Education of the Gifted, 19(4), 437- 460.
Maker, C. J., Muammar, O., Serino, L., Kuang, C. C., Mohamed, A., & Sak, U. (2006). The DISCOVER curriculum model: Nurturing and enhancing creativity in all children. Korean Educational Development Institute (KEDI) Journal of Educational Policy, 3(2), pp.99-121.
Marzano, R.J, Gaddy, B.B., Dean, C. (2000). “What Works in Classroom Instruction,” in Mid-continent Research for Education and Learning (McREL); Chapter 6: Nonlinguistic Representations, pp. 69-87. (This McREL report was sponsored by the Office of Educational Research and Improvement (OERI), U.S. Department of Education.)
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Root-Bernstein, R.S. & Root-Bernstein, M. (1999). Sparks of Genius: The 13 Thinking Tools of the World’s Most Creative People. Boston: Houghton Mifflin Company; pp. 156-158.
____. (1987). "Tools of thought: Designing an integrated curriculum for lifelong learners." Roeper Review 10: 17-21.
____. Root-Bernstein, R.S. (1996a). “The Sciences and Arts Share a Common Creative Aesthetic.” In A.I. Tauber (Ed). The Elusive Synthesis: Aesthetics and Science. [pp. 49-82] Amsterdam: Kluwer.
____. Root-Bernstein, R.S. (1997a). “Art, Imagination and the Scientist.” American Scientist 85: 6-9.
Schacter, D. L. (1999). ”Implicit Knowledge: new perspectives on unconscious processes,” in Proceedings of the National Academy of Sciences 89.
Siler, T., et al., (2008). Think Like A Genius software v2.0. Greenwood Village, CO: Psi-Phi Technology Corporation.
Siler, T. (2007). “Think Like A Genius Process: Realizing Human Potential Through the Purposeful Play of Metaphorming,” [pp. 288-293 & 697A] in The Change Handbook: Group Methods for Shaping the Future, 2nd Edition. (San Francisco: Berrett-Koehler) edited by Peggy Holman, Tom Devane, and Steven Cady, Ph.D.
____. (2005). “Metaphorming” Your Life: Using Your Creativity To Achieve Your Goals and Realize Your Potential, in Informal Learning Review () and New Horizons in Learning ( 2005.
____. (2003). “Think Like a Genius Program for Business: Engaging Everyone In An Organization To Think, Learn, Work, and Perform To the Best of Their Abilities Through Metaphorming“ in Prem Kumar (ed.) Organisational Learning for All Seasons: Building Internal Capabilities for Competitive Advantage. Foreword by Yong Ying-1. (Singapore: National Community Leadership Institute; pp. 285-296
____. (2003) "Search for Genius in All the Unexpected Places to Stimulate Innovation,” in Arthur VanGundy,
Ph.D. and Linda Naiman (eds.) Orchestrating Collaboration at Work: Using Music, Improvisation, Storytelling,
and Other Arts to Improve Teamwork. San Francisco: Jossey-Bass/Pfeiffer; A Wiley Company.
____. (2002). “What does learning mean to you? And what makes a great learning experience memorable?” in John Brockman’s and "WHAT NOW" at
____. (2002). “Metaphorming Your Company: Leading with the Next Generation of Brainstorming Tools,” essay in Leader To Leader magazine of the Peter F. Drucker Foundation, Hesselbein & Company (San Francisco: Jossey-Bass / A Wiley Company) Spring, pp. 15-19
_____ (1999). “Think Like A Genius Process,” in The Change Handbook: Group Methods for Shaping the Future (San Francisco: Berrett-Koehler), edited by Peggy Holman and Tom Devane; pp. 279 – 294, Chapter 17: “Think Like A Genius Process,” was also printed in a stand alone booklet.
____. (1997). “Envisioning the Future of Education," in Donocan R. Walling (Ed.), Under Construction: The Role of the Arts and Humanities in Postmodern Schooling Indiana: Phi Delta Kappa
____. (1996). Think Like A Genius: Use Your Creativity In Ways That Will Enrich Your Life (Bantam Books; Transworld, 1998); translated into Brazilian Portuguese, Chinese, Korean, German, Indonesian, Romanian, and Spanish.
_____. (1995). "ArtScience: Integrating the Arts and Sciences To Connect Our World and Improve Communication," Keynote Address in National Art Education Association, 35th National Convention, Houston, Texas, April 11.
____. (1995). Metaphorming Worlds (The Taipei Fine Arts Museum, Taiwan, Republic of China). Introductions by Dr. Robert Root Bernstein and Marilynne S. Mason, art writer.
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Whitehead, J. & McNiff, J. (2006) Action Research Living Theory, London; Sage.
World Economic Forum (2001). “A Formula for Genius,” re Metaphorming Workshop for Technology Pioneers Programme, World Economic Forum, Davos, Switzerland, Annual Meeting, 25-30 January; Summary Report.
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Boyce, L. N., VanTassel-Baska, J., Burruss, J. D., Sher, B. T., & Johnson, D. T.. A problem-based curriculum: Parallel learning opportunities for students and teachers. Journal for the Education of the Gifted, 20, 1997: 363-379.
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Dods, R.F. An action research study of the effectiveness of problem-based learning in promoting the acquisition and retention of knowledge. Journal for the Education of the Gifted, 20, 1997: 423-437.
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Gordon, P.R., Rodgers A.M., Comfort, M., Gavula, N., & McGee, B.P. A taste of problem-based learning increased achievememt of urban minority middle-school students. Educational Horizons, 79, 2001: 171-175.
Greene, J.C. and Carcelli, V.J. Advances in mixed-method evaluation: The challenges and benefits of integrating diverse paradigms. In J.C. Greene and V.J. Caracelli (Eds.) New Directions for Program Evaluation (Vol. 74). San Francisco, CA: Jossey-Bass, 1997.
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Nissley, Nick. The “Artful Creation” of Positive Anticipatory Imagery in Appreciative Inquiry: Understanding the “Art of Appreciative Inquiry As Aesthetic Discourse,” in Constructive Discourse and Human Organization Advances in Appreciative Inquiry, Volume 1, 285-309. (New York: Elsevier Ltd., 2004.) Note in particular: “Proposition 3: Artful Creations Serve as Symbolic Constructions that Act as Metaphorical Representations of Organizational Life,” pp. 294 & 299-303
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____. Root-Bernstein, R.S. "Exercises for Teaching ‘Tools of Thought’ in a Multi-disciplinary Setting. I Abstracting.” Roeper Review 13, 1991: 85-90.
____. Root-Bernstein, R.S. “For the Sake of Science, the Arts Deserve Support.” Chronicle of Higher Education 43 (July 11), 1997b: 15.
____. Root-Bernstein, R.S. “Hobbled Arts Limit Our Future.” Commentary. Los Angeles Times, Sept. 2, 1997c: B7.
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_____. “Tapping the Creative Powers of the Gifted and Talented: The Future of Education in a Global Civil Society,” keynote address published in the Proceedings for the 14th World Conference on Gifted and Talented Children, Barcelona, Spain, 2002.
____. “Twelve Keys That Open Our Treasure Chests of Creativity and Civil Society,” Keynote Address published in Hand to Hand journal, Association of Youth Museums (AYM) Conference, Interactivity 2000, May 11, 2000.
____. “The ArtScience Program,” 7th International Conference on Thinking: Borderless Thinking: A Keynote Series. Singapore: Nanyang Technological University, National Institute of Educations, 1998.
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