DOCSLIB.ORG

A Comparison of the Intellectually Gifted, Average, and Below Average High School Subjects on the Guilford-Zimmerman Temperament Survey Lyda Parker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparison of the Intellectually Gifted, Average, and Below Average High School Subjects on the Guilford-Zimmerman Temperament Survey Lyda Parker Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1974 A Comparison of the Intellectually Gifted, Average, and Below Average High School Subjects on the Guilford-Zimmerman Temperament Survey Lyda Parker Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the Child Psychology Commons, and the Education Commons Recommended Citation Parker, Lyda, "A Comparison of the Intellectually Gifted, Average, and Below Average High School Subjects on the Guilford- Zimmerman Temperament Survey" (1974). Masters Theses & Specialist Projects. Paper 1809. http://digitalcommons.wku.edu/theses/1809 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. A COM PARISON OF THE INTELLI, CT UALLY GIFTlm. AVEHAGIC. ANI) BELOW AVPHAGE UIG U SCUOOL SUBJ ECTS ON T il E GUILFORD- ZIiVI MERMAN TEMPE RA l\'Il!: NT SUn VEY A Thes is P ,'escntcd to the Faculty of th e Depa rtme nt of Psychology W este rn K entucky Unive r sity Bowling Green, K entucky In P3rtial F ulfillment of the Require me nts for th e Degree Master of Arts by Lyda P. Parker May 1974 A CO~ IP i\HI SON OF T il E INT ELLECT UALLY GIFTED, AVEHAGIO, AND BELOW AVEHAGE I /IGH SC/looL S B.JECTS ON THE GUILFOHD-ZIM:\H-:Ri\'I AN TEMPEHAi\'IENT SU nVEY Approved ;/- 2 <2 · 14 (Date ) ACKNOWLEDGEMENTS I gener ::t lly rind "Acknowledgements" to be J r amatic . som e wh a t embal'rassi ng. just plnin old "corny , " a nd devoid of humor . So it is Ilt the expense of presenting myself in s uch a manner that I do acknowledge the following pel' sons a nd do so s incer e ly , but hopefully , with hUlllor. I would especially like to tI'ank my com m ittee c ha irman. Or. David ~ \' 5 e k, fo r the contimml encour agement. patience. a nel intere.st he has shown not o nly with I'cgar d to th is pape r . but a lso throughout my under g r a d uate and gra duate training. lie has g iven f .. eely of his ti me. knowleclce. e nthusiasm, and suppor t thl'oughout these years; a nd his assis ta nce has been invuluable . Dr. Le r oy lVletze has a lso been most he lpful through the pnst years. a nd especia n y in the produc tio n of this paper. He spent many long hours from a n extremely c r o wded sche dule in r eview and a ppreciated discussion of the s tudy. For the invaluable contributio n of the da ta ba nk used in his docto r a l disserta tio n. J would like to acknowledge Dr . Albe r t Laird who a lso sel'ved a s a committee member. Without the lise of these data . the present s tudy would not have been 'D OS s ible . iii I would like to tha nk my mothe r' for taking c art:! of the typing of the m a nu script. my fathe r fo r ta king (,3re of the c opying of the manuscript, a nd my hu s bn.nd-to-h ~ fo ro taking c are of m e! Without the ir c ons t'lnt help and e ncoul"n. ge m e nt this pape r would neve r have been c omplet ed, Las tly . I wou ld like to tha nk myself fOJ" le arning. caring . and being s tubborn a nt.! aggressive e nough to fina lly finis h this paper! TA U f E U F CONT EN'I'S Chaptc r I. INTHODUCTION ...... II. llEV /F;1V OF THE L l'l' EHATUH r:: 8 Gu iJfo rd~Zimm e rman Tempe ramcnt Survey 8 GZ'l'S Fac tor Gencr'al Ac ti vit y 10 CZTS Fac tor' R C~ Ir '~l illt .. 12 CZ'l'S Facto r l\ scendancc . 1·1 CZTS Fac to r Sociabil ity 16 CZTS Factor Emotional S tab ility . 19 CZTS Factor Objcctivity . 2 1 GZTS Factor Friendliness 23 GZ1'S PactaI' Thoughtfulness 24 GZTS Fac tor Pe rsonal Hc la ti ons 26 GZTS Fac tor !\'TascuJinity . 27 Ove rv iew of the Litenllure 30 III. METHOD ANU pnOCEOUHE . 34 Selec tio n and Use o f Subjects. 34 l\luHiplc Groups Design. 36 Proc edure . .. .. 3P Statis tical Treatment of Data 39 v IV. HESULT S . ..... ..... 4 1 V. DISCUSSION AND I~IPLICATIO NS . 45 Disclission . 45 Implica tions 48 REFERENCES •.. .... 52 vi ;\ COi\l P All: lSON O F Til E INT ELLECTUA l LY G IFTED. ,I\VEHAGE, A 10 B ELO W AV EHAG I!: HI G II SCIIOOI SUBJECT S ON T il E GUl LFOHJ)· Z l i\l~ I E R Mj\N TEl\J PERAl\IENT SIJRV!:;Y I yda p , !':lI'kCI' i\ lay l H7<1 56 pages Uir'cctcd by: I). A . Shi c k. 1, 1' . :l.tel:l'.c . and A . W . I.aird Depa l'lme nl of P sycho l ogy \Veste rn Ke ntucky lI nivel's ity Thc plll' pose of the s tudy was to investiga tc the I' cla lionship between inlc llt.'ctlla l ahility of 276 high schoo l s tude nts a nd pe r'sona lity as measur ed by the GUiIrol'd-Z imrne r'lllnll ·,· ... "" pcl·amcnt SUI've}, (GZTS) ' fa c to r' s . The 10 GZTS tr:lits util ized WC I'C: G e ne r'al Ac tivity. Il c s tra int. i\ sccndance. Sociability . Emotiona l St:,lbility. Objectiv ity . Friendliness. Thollghtrulness. Per sona l Il e la ti ons . a nd l\'iasclIlinity. The study was d esigned to t est for the r el a tionship be tween thl'ce IQ groups (high. middle . and low) a nd each of 10 GZTS persona lity fa cto r s . 1\ multiple g l'oups dpsign was used . in which the th,'ce g " oups of subjects we r c blo c ked :.IC I'OSS inte llig(mce . Tcn one · way :1Ilalyses o f varia nce wer e pC l'formed to d e te r nline if s ignific a nt diffe r ences be tween the IQ g,'ollps e xist ed o n the 10 GZTS fac tors. None of the a nalyses yielded s ignific a n t findings . That is . no s ignificant diffe r ences in pe r sonality ;:\C I'OSS lQ g .,oups we r e obta ined . S even non- s i ~n ifi ea nt trends b (! tween in tellig e nce level and s pecific personnlity fa c to r s arc presented and d isc ussed. Chapter I Introduction In order that he might func tion. m an is self-cent el'ed. lie does not live unless he eats. d rinks . a nd breathes. In his earliest form . he did not live unless he could protect himself a nd had e nough abil ity to find food a nd water. He had to and s tU1 has to be self- a ware. for hi s awareness a nd self- concern t ell him when he s hou ld seck food. dl'ink, or s leep, If man we r e 110t £I e lf-cente r ed, he could not survive. These ve r y basic self-concerns ha ve l ed man to ques tion his needs. and through his r easoning to evaluate himself. Through the eons m an has progrC"ssed from merely evalua ting how he must find water fo r himself to exis te ntia l questioning or Jds own value . 1\-lal1 . then. rrom whatever eon, of wha te ver inte lligence . is a self­ e va lua ting bC'ing. "Man is a socia l creatu re (Eertrand, 1967. p. 6J. " He seeks out th e companions hip o r other m e n--men who like himself al'e self- evalua ting. self-a ware b e ings. Early ma n began being "other-aware" wh e n he had to battle humans for food a nd protec tio n. ane lat e r when he bec ame sociah ..:ed. living a nd e lUng together 2 with othCl'S, II c learne d to eva luat(' h Lq peer s --who was the s tronges t , the best hunter, the best food pre pare r, Man the n moved to mor e s ophis tic ated methods of "othe r -evaluation." lie found it necessar y lo establis h government s. laws. r e ligion. a nd values. The r e fore, man is today pic tul'ed as n self- and othe r- evalua ting organism. with h is e valuative processes falling o n a continuum from ba sic to sophis ticated methods of e va luation. Man has developed systems of investigating specia l abilities o n social. intellectua l. a nd phys ical levels . He s peaks of his fellow m;'ln as a "gr eat persona lity . " a " r eal IlI'ain." 0 " a "supe r a thelete . " Kelly ( J 063) ~ t ated tha t m an cons ta ntly r. ':tluates himself and othe r s through his own construc t syste m s .
Load more

Recommended publications
  • THE KING JAMES VERSION at 400 Biblical Scholarship in North America
    THE KING JAMES VERSION AT 400 Biblical Scholarship in North America Number 26 THE KING JAMES VERSION AT 400 Assessing Its Genius as Bible Translation and Its Literary Influence THE KING JAMES VERSION AT 400 ASSESSING ITS GENIUS AS BIBLE TRANSLATION AND ITS LITERARY INFLUENCE Edited by David G. Burke, John F. Kutsko, and Philip H. Towner Society of Biblical Literature Atlanta THE KING JAMES VERSION AT 400 Assessing Its Genius as Bible Translation and Its Literary Influence Copyright © 2013 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Offi ce, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data The King James version at 400 : assessing its genius as Bible translation and its literary influence / edited by David G. Burke, John F. Kutsko, and Philip H. Towner. p. cm. — (Society of Biblical Literature Biblical Scholarship in North America ; number 26) Includes bibliographical references and index. ISBN 978-1-58983-800-0 (hardcover : alk. paper) — ISBN 978-1-58983-798-0 (pbk. : alk. paper) — ISBN 978-1-58983-799-7 (electronic format) 1. Bible. English. Authorized—History—Congresses. 2. Bible. English. Authorized— Influence—Congresses. 3.
    [Show full text]
  • Creative Genius As Inherently Relevant and Beneficial: the View from Mount Olympus
    138 Vol. 5, Issue 2, 2018 Theories – Research – Applications Creative Genius as Inherently Relevant and Beneficial: The View from Mount Olympus Dean Keith Simonton University of California, Davis, USA E-mail: [email protected] ARTICLE INFO ABSTRACT Keywords: The author responds to Kaufman’s (2018) target essay from a unique perspective – research on creative genius. Alt- Genius hough the author began studying little-c creativity, he Big-C versus little-c creativity switched to Big-C creativity when he did his doctoral disser- Costs versus benefits tation, and continued that work for the rest of his career. One Creativity training implication of such research is that the relevance of creative Article history: genius cannot be questioned, even if its benefits are some- Received 15 November 2018 times ambiguous (however obviously consequential). Anoth- Received in revised form 20 November 2018 er implication is that creative geniuses do not require training Accepted 20 December 2018 in creativity, whatever usefulness such instruction may pos- sess for everyday creativity. ISSN: 2354-0036 DOI: 10.1515/ctra-2018-0009 James Kaufman (2018) raises some critical issues with which I have some sympathy. Af- ter all, I have made a long-term commitment to creativity research under the assumption that it was and remains a significant topic. Indeed, I started conducting my own original inquiries into creativity in the late 1960s while still an undergraduate (e.g., Simonton, 1980, published a decade later). Thus that initial interest was sparked about a half centu- ry ago! Moreover, I continued that fascination in graduate school despite being warned by various well-intentioned advisors that it was a dead topic that no longer attracted leading- edge research (Simonton, 2002).
    [Show full text]
  • Musical Genius--Evolution and Origins of a Concept Author(S): Edward E
    Musical Genius--Evolution and Origins of a Concept Author(s): Edward E. Lowinsky Source: The Musical Quarterly, Vol. 50, No. 3 (Jul., 1964), pp. 321-340 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741019 . Accessed: 07/04/2013 10:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly. http://www.jstor.org This content downloaded from 143.107.252.222 on Sun, 7 Apr 2013 10:19:11 AM All use subject to JSTOR Terms and Conditions MUSICAL GENIUS - EVOLUTION AND ORIGINS OF A CONCEPT* By EDWARD E. LOWINSKY ARE livingin an age in which musical and technicaldevelop- WE ments suggest the possibilitythat mathematical formulas and computermachines or "chance"I may take over essentialareas of musical creativity."Total organization"or "chance" are two sides of the same process.Both rule out the freeact of creationthat we ordinarilyassociate with the nature of genius. At the same time we observe a deflationof the idea of genius. In a recentbook the Italian architectLeonardo Ricci wrote:"if we say we no longerbelieve in genius,this does not mean only the genius of the past.
    [Show full text]
  • Lexical Creativity and Humor in Translation: on Rabelais’ Linguistic Genius and the Difficulties in Translating His Works
    Lexis Journal in English Lexicology 17 | 2021 Humor, creativity and lexical creation Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works Adrienn Gulyás Electronic version URL: https://journals.openedition.org/lexis/5143 DOI: 10.4000/lexis.5143 ISSN: 1951-6215 Publisher Université Jean Moulin - Lyon 3 Electronic reference Adrienn Gulyás, “Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works”, Lexis [Online], 17 | 2021, Online since 15 August 2021, connection on 20 August 2021. URL: http://journals.openedition.org/lexis/5143 ; DOI: https://doi.org/10.4000/ lexis.5143 This text was automatically generated on 20 August 2021. Lexis is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Lexical creativity and humor in translation: On Rabelais’ linguistic genius a... 1 Lexical creativity and humor in translation: On Rabelais’ linguistic genius and the difficulties in translating his works Adrienn Gulyás Introduction 1 Translating humor deriving from lexical creativity, often bound to the form of the source text, is an imposing challenge for literary translators. The main concern of this article is to observe lexical creativity at work in François Rabelais’ Pantagruel and Gargantua and the translators’ solutions to render it in English and Hungarian. First, the theoretical background of the notion of “lexical creativity” will be explored, and a theoretical framework adopted from translation theory for the discussion of examples. In the analysis, a systematic contrastive approach will be applied to compare Screech’s English [2006] and my own Hungarian translations [Pantagruel 2010; Gargantua 2015].
    [Show full text]
  • Galton, Terman, Cox: the Distinctive Volume II in Genetic Studies Of
    GCQXXX10.1177/0016986220921360Gifted Child QuarterlySimonton 921360research-article2020 Article Gifted Child Quarterly 1 –10 Galton, Terman, Cox: © 2020 National Association for Gifted Children Article reuse guidelines: The Distinctive Volume II sagepub.com/journals-permissions DOI:https://doi.org/10.1177/0016986220921360 10.1177/0016986220921360 in Genetic Studies of Genius journals.sagepub.com/home/gcq Dean Keith Simonton1 Abstract With just one exception, all of the volumes in Terman’s Genetic Studies of Genius report the results of a longitudinal study of more than a thousand intellectually gifted children. That single exception is Volume II, Cox’s single-authored The Early Mental Traits of Three Hundred Geniuses, which instead was a retrospective study of 301 eminent creators and leaders, using historiometric methods to estimate their IQs (as well as to assess a subset of 100 on 67 character traits). This article discusses how this volume actually fits with the other four volumes in the set. After giving the historical background, discussion turns to the emergence of Cox’s doctoral dissertation. Then comes a narrative of the aftermath, including subsequent contributions by Cox, Terman, and numerous other researchers extending into the 21st century. The article closes by treating the ways that the intellectually gifted and the historic geniuses are not comparable, thus indicating the need for more recent replications and extensions of her work. Keywords archival, biographical, historical analysis, early childhood, gifted, intelligence Strictly speaking, Lewis M. Terman’s (1925-1959) monu- complete list of impressive big names provided on multiple mental and highly influential Genetic Studies of Genius con- occasions throughout the volume.
    [Show full text]
  • Children of Genius: Affirmation of Will in Schopenhauer's Aesthetics
    Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 5-9-2019 Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics Clare Mauney Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Mauney, Clare, "Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/philosophy_theses/249 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CHILDREN OF GENIUS: AFFIRMATION OF WILL IN SCHOPENHAUER’S AESTHETICS by CLARE MAUNEY Under the Direction of Jessica Berry, PhD ABSTRACT While Schopenhauer is well-known for his pessimistic outlook on life, I argue that not all aspects of his philosophical project support this outlook. Specifically, I argue that Schopenhauer’s aesthetic genius must necessarily affirm life through artistic creation. To show that this is the case, I contend that the aesthetic genius’ engagement with the world of representation precludes him from engaging in the denial of the will-to-live, and that his desire to communicate his knowledge of the world entails an affirmation of the will-to-live. I furthermore outline and explore significant parallels between artistic creation
    [Show full text]
  • Group Flow and Group Genius
    GROU P FLOW AND GROU P GEN I US by Keith Sawyer Keith Sawyer views the spontaneous collaboration of group creativity and improvisation actions as group flow, which organizations can use to function at optimum levels. Sawyer establishes ideal conditions for group flow: group goals, close listening, complete concentration, being in control, blending egos, equal participation, knowing team mates, good communication, and being progress-oriented. Collaboration is an essential ingredient of group flow and is vital to the Montessori classroom. Basketball is religion in Indiana, and one of its mega churches is Bloomington, home of the Big-Ten Indiana University Hoosiers, where larger-than-life coach Bobby Knight won three national cham- pionships between 1971 and 2000. But the Indiana tradition isn’t just about famous coaches and national championships. In the legendary Old Fieldhouse on 7th Street, there are 16 indoor basketball courts in one cavernous space. The team doesn’t use these courts anymore. Now, the Old Fieldhouse is called the HPER student rec center and it’s one of the best places in the country for pickup basketball. No coaches, no referees, and no championship: The players cre- ate their own teams, police their own behavior, and work out rules for who gets to play and when. Pickup basketball brings together people who would probably never meet off the court, like at a Dr. R. Keith Sawyer, a professor of education at the University of North Carolina in Chapel Hill, studies creativity, learning, and col- laboration. He received a computer science degree from MIT in 1982 and then began his career with a two-year stint designing videogames for Atari.
    [Show full text]
  • Toward a Behavioral Definition of Genius
    Toward a Behavioral Definition of Genius ROBERT S. ALBERT Pitzer College 1 The idols imposed by words on the understanding are of two kinds. They are either names of things which do not exist (for as there are things left unnamed through lack of observa- tion, so likewise are there names which result from fantastic suppositions and to which nothing in reality corresponds), or they are names of things which exist, but yet confused and ill-defined, and hastily and irregularly derived from realities. Francis Bacon, Novum Organum, 1939 This article discusses some of the troublesome places the creative person within an implicit my- issues involved in the concept of genius. An opera- thology, attributing his creative (inspired) mo- tional definition of genius is proposed; some of the ments to the intervention or the guidance of gods. implications for research on high achievement are Viewed this way, the major source of an individual's presented; and supporting evidence is offered to creative behavior lies less within him and more out- indicate that it is possible to operationalize such side him in the realm of the supernatural or pre- an apparently global concept if one restricts its ternatural. use to the behavioral, rather than to the sometimes The second early Western view ascribes mad- superficially dramatic, components of high achieve- ness to extraordinary creativity, which resembles ment. Because genius is typified by behavior that what we now speak of as severe psychopathology.2 is exceptional, often unpredictable, and influential For Aristotle "there is no great genius without to many, it is not surprising to find genius a topic madness." Coupled with "madness" was "posses- of concern for many eminent psychologists and sion," for example, Plato's view of poetic inspira- social philosophers, for example, Freud, Gallon, tion as a madness "taking hold of a delicate and William James, Kretschmer, and Terman (Annin, virgin soul, and there inspiring frenzy, awakens Boring, & Watson, 1968).
    [Show full text]
  • Read Ebook > Information: a Very Short Introduction \\ TEBTPAKMGJ3T
    ZGSJDXCFGBMD ~ Kindle # Information: A Very Short Introduction Information: A V ery Sh ort Introduction Filesize: 8.31 MB Reviews A whole new eBook with a brand new viewpoint. Yes, it is perform, continue to an interesting and amazing literature. You wont truly feel monotony at whenever you want of the time (that's what catalogs are for concerning should you ask me). (Margie Jaskolski) DISCLAIMER | DMCA YMUAYUVATGRD # Doc » Information: A Very Short Introduction INFORMATION: A VERY SHORT INTRODUCTION To download Information: A Very Short Introduction PDF, remember to follow the button beneath and save the file or have access to other information that are relevant to INFORMATION: A VERY SHORT INTRODUCTION ebook. Oxford University Press. Paperback. Book Condition: new. BRAND NEW, Information: A Very Short Introduction, Luciano Floridi, We live an information-soaked existence - information pours into our lives through television, radio, books, and of course, the Internet. Some say we suer from 'infoglut'. But what is information? The concept of 'information' is a profound one, rooted in mathematics, central to whole branches of science, yet with implications on every aspect of our everyday lives: DNA provides the information to create us; we learn through the information fed to us; we relate to each other through information transfer - gossip, lectures, reading. Information is not only a mathematically powerful concept, but its critical role in society raises wider ethical issues: who owns information? Who controls its dissemination? Who has access to information? Luciano Floridi, a philosopher of information, cuts across many subjects, from a brief look at the mathematical roots of information - its definition and measurement in 'bits'- to its role in genetics (we are information), and its social meaning and value.
    [Show full text]
  • Genius in France: an Idea and Its Uses
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction [W]e ought to know what “genius” is. —Marjorie Garber, Academic Instincts [L]et us not pretend to understand what genius means. —Derrida, “L’archéologie du frivole” Genius is a word with a long history, two etymological origins, and, according to the Oxford English Dictionary, seven distinct meanings, each with several subcategories. Yet since the eighteenth century the term has often been de- ployed in the Western world as if its sense were entirely obvious, with speakers relying on an assumption of cultural consensus to pass “genius” off as a self- explanatory notion. It was taken up by all the major European languages in response to the need for a word that would express the new sense of the value of exceptional creative originality. An accolade that defines its object as an ex- ception in a class of its own, “genius” serves as a sort of super- superlative, pos- sessing rather more evaluative purpose than precise semantic content. At the same time, it indicates the distinctiveness of the person to whom it is applied, the stamp of individuality being the guarantee of the originality that was in- creasingly associated with the term. Genius is therefore exceptional on two dif- ferent counts, superior quality and distinctive character, so that to speak of “the genius of Mozart,” for example, is both to place Mozart at the top of some hy- pothetical ranking of composers, and to allude to the particular character of his music.
    [Show full text]
  • Genius Moves a CASE STUDY WITH
    Genius Moves A CASE STUDY WITH Home to over 25 million songs, albums, artists, and annotations, Genius opens a window into the minds of musical artists and their work. Over the years, the company has also amassed a loyal community of contributors who annotate and interpret songs spanning eras and genres. Originally founded as a hip hop-focused lyrics website in 2009, Genius has since expanded its brand and offering to become a full-fledged music media organization, producing everything from written and audiovisual content to live events, as well as streaming integrations with the likes of Spotify and Apple Music, and releasing limited-edition merchandise. With over 100 million visits a month, they consider a variety of data points to get ahead of trends, inform strategy, and engage their community — at real-time speed. We spoke with the Artist Relations and Community teams at Genius to learn how they use Chartbeat data, specifically, to help connect with today’s hottest artists and their fans. QUICK COMPANY FACTS 2009 Founding year 100,000,000+ Monthly site visits 2,000,000+ Contributors genius.com Artist discovery, in real time PRO TIP #1 Before Lil Nas X broke the record for most consecutive Chartbeat’s Spike Alerts will notify you via text, email, and/or Slack when traffic to a weeks (19) topping the Billboard Top 100, he was an page increases suddenly, so you can react unknown rapper with a lyrics page on Genius that began before it goes viral. gathering visits by the handful. The track in question? “Old Town Road.” “I saw the visits increase on Chartbeat and I asked, ‘Where Spike Alerts is this song coming from?’” said Stacy Aguilar of Genius’ Sample Title Oct 10, 12:10 p.m.
    [Show full text]
  • The Genius and Beauty Found Within the Clifton Strengthsfinder Themes of Talent by Edward “Chip” Anderson, Ph.D., Coauthor of Strengthsquest
    The Genius and Beauty Found Within The Clifton StrengthsFinder Themes of Talent By Edward “Chip” Anderson, Ph.D., coauthor of StrengthsQuest From my experience, each of the themes of talent identified by the Adaptability Clifton StrengthsFinder Inventory has a stroke of genius within it. The genius of your Adaptability talent begins with where you The genius of our talents reflects what those talents enable and empower “live” in terms of your mind. You live in the present - - - even the us to do to potential levels of excellence. The concept of genius refers present moment. Whereas others live their lives in their “rear-view to an extraordinary ability to do certain things, and as such there is mirror”, always looking to the past and being tied to the past, you great beauty in seeing what is done by the genius within individuals. are a right here – right now person. The genius of this perspective Accordingly, what follows is the genius I see in each of the themes of means that you can change and change quickly. Rather than being talent identified by the Clifton StrengthsFinder Inventory. rigid, you are flexible; and rather than being tied to some pre-set Achiever plan, you can quickly change to meet immediate demands and circumstances that require attention. But the real genius of your The genius of your Achiever talent begins with your tremendous adaptability is seen in circumstances that make others scramble motivation, drive and determination. You are in constant motion and cower into some safety zone for security. Your genius talent to reach your goals.
    [Show full text]