Thematische Bibliographien / Collective creative

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Auswahl der wissenschaftlichen Literatur zum Thema „Collective creative“

Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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Zeitschriftenartikel zum Thema "Collective creative"

Lee, Hsin-Hsuan Meg, und Willemijn van Dolen. „Creative participation: Collective sentiment in online co-creation communities“. Information & Management 52, Nr. 8 (Dezember 2015): 951–64. http://dx.doi.org/10.1016/j.im.2015.07.002.

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Macenka, Svitlana. „Bertolt Brecht’s Idea of Collective Creativity“. Pitannâ lìteraturoznavstva, Nr. 108 (29.12.2023): 97–111. http://dx.doi.org/10.31861/pytlit2023.108.097.

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The most recent research in the theory of authorship has been used to put forward an original idea about the collective creativity of the German poet and playwright Bertolt Brecht (1898–1956). It is stated that according to Bertolt Brecht scholars, there still does not exist a definition for the “collective creative work process” (Nadia Dimassi). At the same time, Brecht never concealed his creative principle, highlighting in his theoretical texts how important collective creative collaboration was for his work. Moreover, this specific principle is particularly important for understanding the creative phenomenon of the talented German artist. It is established that the concept of collective artistic creation manifests modernist qualities in his creativity, namely lyrics. Brecht believed that one isolated artist’s depiction of the modern world in its extraordinary complexity was insufficient and dubious. It has been established that Brecht’s concept of collective creation developed in several directions: throughout his life, his creative work involved friends and peers whose knowledge and skills he particularly valued, including his numerous beloved women. The artist was, thus, convinced that art was a collective affair. In addition, it is known that Brecht did not consider creative texts as being complete. For him, they were temporary versions in a constant state of creation. A particular moment of development came with their staging. Brecht had a particular attitude towards existing literary material – he believed he was a craftsman as far as texts were considered, so he developed his own “poetics of plagiarism”. A comparison with “Wagner’s total work of art” revealed intermedial aspects of artistic products created by Bertolt Brecht. The artistic specificity of the “Brecht machine” has been summarized, and the principles of its operation have been identified.

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Harvey, Sarah, und Chia-Yu Kou. „Collective Engagement in Creative Tasks“. Administrative Science Quarterly 58, Nr. 3 (22.07.2013): 346–86. http://dx.doi.org/10.1177/0001839213498591.

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Boiselle, Phillip M. „Harnessing our Collective Creative Imaginations“. Journal of Thoracic Imaging 24, Nr. 1 (Februar 2009): 1. http://dx.doi.org/10.1097/rti.0b013e31819b6863.

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Milohnić, Aldo. „On Collective and Devised Creation in Slovenian Theatre“. Theatre and Community 9, Nr. 2021-1 (30.06.2021): 84–87. http://dx.doi.org/10.51937/amfiteater-2021-1/84-87.

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In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

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Dampérat, Maud, Florence Jeannot, Eline Jongmans und Alain Jolibert. „Team creativity: Creative self-efficacy, creative collective efficacy and their determinants“. Recherche et Applications en Marketing (English Edition) 31, Nr. 3 (22.06.2016): 6–25. http://dx.doi.org/10.1177/2051570716650164.

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Harvey, Sarah, und Chia-yu Kou. „COLLECTIVE ENGAGEMENT: EXPLORING CREATIVE PROCESSES IN GROUPS“. Academy of Management Proceedings 2011, Nr. 1 (Januar 2011): 1–6. http://dx.doi.org/10.5465/ambpp.2011.65869748.

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Corbett, J. „Notes on Creative Music and Collective Action“. Nka Journal of Contemporary African Art 2014, Nr. 34 (01.03.2014): 48–51. http://dx.doi.org/10.1215/10757163-2415186.

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LOGVINOVA, Ya. „TECHNOLOGY OF COLLECTIVE CREATIVE WORK IN THE FORMATION OF THE ECOLOGICAL COMPETENCE OF THE FUTURE TEACHER“. ТHE SOURCES OF PEDAGOGICAL SKILLS, Nr. 21 (09.03.2018): 117–21. http://dx.doi.org/10.33989/2075-146x.2018.21.206106.

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The article is devoted to the formation of the ecological competence of the future teacher in the process of collective creative activity. The concepts of "ecological competency", "collective creative work", "creativity" of professional development of university teachers have been analyzed.Ecological competence is the quality of the individual, which includes the ability to solve problems and problems of various levels of complexity, arising in the home and professional activities. The basis for the formation of ecological competence is the value attitude to nature, the availability of knowledge, educational and life experience, individual abilities, needs and motives. To form the ecological competence of the future teacher it is necessary to have strong environmental knowledge, to understand nature as a value, to have the experience of creatively using environmental knowledge to solve environmental problems at the local level.The article deals with the concept of "creativity", "creative activity". The main features of creative activity are the novelty and social significance of its products. The importance of using the technology of collective creative works for forming the ecological competence of the future teacher is emphasized. The main idea of the method of collective creative education is the formation of a person through a single educational group. Collective creative affairs is a manifestation of public concern about environmental improvement, a combination of certain actions to the general good.Collective creative ecological business consists of stages: preparation of a teacher, creation of a council of affairs, collective preparation of a case, carrying out of ecological activity, the results of the case.

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Damperat, M., F. Jeannot, E. Jongmans und A. Jolibert. „La creativite des equipes: lefficacite creative personnelle et collective et leurs determinants“. Recherche et Applications en Marketing 31, Nr. 3 (10.02.2016): 7–28. http://dx.doi.org/10.1177/0767370116629076.

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Dissertationen zum Thema "Collective creative"

Arıkan, Harun Burak. „Collective systems for creative expression“. Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36319.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.
Includes bibliographical references (p. 123-126).
This thesis defines collective systems as a unique category of creative expression through the procedures of micro and macro cycles that address the transition from connectivity to collectivity. This thesis discusses the necessary technology, context, and terminology, and provides a conceptual structure for the execution, discussion and evaluation of these procedures. This is supported through discussing the author's contribution to the OPENSTUDIO project and the Open I/O system.
by Harun Burak Arıkan.
S.M.

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Zou, Guangyu Yilmaz Levent. „Collective creativity in scientific communities“. Auburn, Ala, 2009. http://hdl.handle.net/10415/1747.

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Carpenter, Aubrey W. „Songs from the Willow Tree: Staging Collective Inspiration for Creative Songwriting“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/365.

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The songwriting process, inspiration to song, can take many forms. This project explores a highly structured approach, using themes derived from reported individual experience to direct the creation of musical ends addressing common experience.

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Giannopoulou, Alexandra. „Les licences 'creative commons'“. Thesis, Paris 2, 2016. http://www.theses.fr/2016PA020054.

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L’emploi largement répandu des licences Creative Commons, en vue de partager des oeuvres non logicielles, justifie le choix de leur consacrer une étude, afin d’apprécier leur rapprochement actuel au régime légale de la propriété littéraire et artistique et afin d’envisager de conciliations prospectives. L’étude relève la singularité de Creative Commons en tant que système de gestion des droits d’auteur ; ce dernier, composé d’une série de licences, est guidé par une association de promotion du partage d’oeuvres et mu par une idéologie fondée sur l’autonomie de la volonté des auteurs. L’hypothèse de notre étude repose sur la variété constatée des libertés accordées par les licences. Ces dernières se transforment en une série d’outils standardisés qui s’imposent progressivement comme une norme pour la jouissance partagée d’oeuvres – tout en se fondant sur les règles du droit d’auteur. En même temps, l’étude des conséquences de la mise en oeuvre de chaque licence illustre la création d’asymétries entre les acteurs du partage. Notamment, si la distinction entre utilisation commerciale et non commerciale – introduite par les licences – constitue un outil deconciliation du régime propriétaire avec celui du partage créatif, l’utilisation de la notion ambiguë d'utilisation non commerciale influence le sort des licences et complique le processus évolutif des oeuvres partagées. L’affinement de la variété des licences conduit l’étude à s’atteler à l’examen des mécanismes prospectifs afin d’aboutir à une coordination des licences avec le droit d’auteur qui serait fondée sur le principe fondateur de Creative Commons, à savoir l’essai de rééquilibrage des intérêts impliqués au droit d’auteur
The widespread use of the Creative Commons licenses for the sharing of non-software works demonstrates the imperative to devote a study to the licenses in question. The goal of the study is to assess the current links of the licenses to the legal regime of intellectual property in order to suggest prospective ones. The study underlines the singularity of Creative Commons as a copyright management system, which consists of a series of licenses and is guided by an association promoting the sharing of works and by an ideology based on the autonomy of the authors. The premise of the thesis is founded on the variety of freedoms granted by the licenses. The licenses transform into a series of standardized tools that are gradually imposed as a standard for the sharing of works while relying on the rules of copyright. At the same time, the analysis of the consequences of the implementation of each license demonstrates the asymmetries created between the agents involved in the sharing process. In particular, our study shows that although the distinction between commercial and non commercial introduced by the licenses acts as a conciliation tool between the proprietary regime and that of the creative sharing, the introduction of an ambiguous concept - that of non-commercial use - influences the fate of licenses and complicates the evolutionary process of shared works. One way to resolve this tension proposed by our thesis is to review prospective mechanisms that would achieve a level of coordination between the licenses and copyright based on the founding principle of Creative Commons, which is the rebalancing of the interests involved in copyright

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Beukes, Dennis Benjamin. „Creative arts in pre-service teacher education at South African Universities : a collective case study“. Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60405.

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This thesis is a documentation of an empirical study in which qualitative methods were employed to investigate the current programmes offered to pre-service Creative Arts teachers at selected South African universities. The subject, Creative Arts, is one of the compulsory learning areas for grades R - 9 in all South African public schools as prescribed by the Curriculum and Assessment Policy Statement of 2011. In order for learners to gain maximum benefit from the subject Creative Arts, pre-service teachers should be educated to gain an understanding of the interrelatedness of the different art forms. The theoretical framework underpinning this study is Mezirow's theory of transformative learning which is based on critical reflection. Pre-service teachers should therefore be encouraged to critically reflect on the learning process, rethinking their own perspectives and constructing new knowledge in the process of discourse with others. Information on the current programmes offered at five South African universities involved in this collective case study, was extrapolated from interviews with both lecturers of Creative Arts programmes, and pre-service teachers enrolled for courses in Creative Arts. Furthermore, observations were done at various sites to obtain an in-depth perspective of how the arts are presented at these institutions. Findings revealed that most universities offer Creative Arts programmes with an arts specific approach. This corresponds with the demands of artistic disciplines, and especially performance arts, which require the development of practical skills which should be developed over an extended period. Although developing these specialized skills and knowledge in each art form is important, the discrete presentation of these arts may limit opportunities for students to experience integrated arts activities. Moreover, pre-service teachers need practice in school based settings to hone their teaching skills in delivering meaningful arts activities to learners. The recognition of common grounds between the different art disciplines makes the merging of these arts into the broad subject, Creative Arts possible. These commonalities should be further explored, especially in a South African context where African arts are inherently integrated. Benefits of co-operative curriculum planning between the departments of Basic and Higher Education in the provision of competent and skilful teachers for Creative Arts is the key to successful arts education in South African schools.
Thesis (DMus)--University of Pretoria, 2016.
Music
DMus
Unrestricted

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Breslow, Jay. „The Community Creativity Collective: Introducing and Refining a Community-Based Model for Creative Curriculum Development“. Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19195.

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Calls for more creative teaching and learning in classrooms are often matched by increasingly stringent accountability measures. Negotiating the creativity/accountability paradox is difficult for teachers, who are often isolated as they interpret, design, and deliver curriculum in their classrooms. This dissertation introduces and refines a 7-stage process called the Community Creative Collective (3-C) designed to generate solutions to three problems that derive from this paradox. First, narrowing of curriculum inhibits the ability of teachers to generate creative teaching and learning. Second, factors, including time constraints and teacher training, limit teachers' ability to develop the creative habit. Third, inclusion of family and community members as co-creators of curriculum provides a potential source of creative curriculum development. Three research questions guide the exploration of the process: 1. How does the 3-C process allow teachers and community members to collaboratively generate creative teaching and learning opportunities for their students? 2. What are the distinguishing features of this collaborative curricular process? 3. How does such a process impact teachers' interpretations of their role as interpreters, designers and deliverers of curriculum? Using a Design Based approach, these questions investigate the process as it was implemented in a 5th-grade classroom. The first question uses a case study methodology to trace the development of the 3-C process as it was developed and implemented. Findings demonstrated that communication at multiple stages impacted the generation of creative ideas. The second question uses qualitative data from documents, interviews, audio and video recordings and observations to extrapolate some of the distinguishing feature of the process. Key features included the Ideational Speed Dating (ISD) process for idea-generation, the 3-C process as a peak flow experience and the impact of parent and community expertise to generate creative classroom content. The third question uses interviews with the participating teacher to examine the impact of the 3-C process on her interpretation of her role in the classroom. The process influenced her view on family and community involvement, providing space through which tensions can be resolved and creative engagement can flourish. Finally refinements for future iterations are discussed in addition to implications for future research.

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Bennett, Rick 1963. „Drawing on the virtual collective : exploring online collaborative creativity“. Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/6433.

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Aguilar, Beatriz E. „The effect of individual versus collective creative problem solving experiences on fourth- and fifth-grade students' compositional products“. Thesis, connect to online resource, 2004. http://www.library.unt.edu/theses/all/Dec2004/aguilar%5Fbeatriz%5Fe/index.htm.

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Vézina, Cathy. „Resituer la dimension communicationnelle de la créativité collective contextualisée : une approche par les constructions médiatrices“. Thesis, Toulon, 2017. http://www.theses.fr/2017TOUL0012/document.

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Cette thèse envisage les effets occasionnés par la créativité collective contextualisée, plus particulièrement à l’échelle des groupes restreints, à partir d’une approche communicationnelle par les « constructions médiatrices ». Elle poursuit trois grands objectifs. Premièrement, elle s’inscrit dans une volonté d’éclaircissement de la notion de créativité de groupe en tant que phénomène (tel qu’abordé par Woodman, Sawyer et Griffin, 1993) et propose d’en faire la distinction par rapport à la méthode employée par le groupe de créativité (Demory, 1986; Aznar, 2011). Deuxièmement, elle cherche à clarifier les formes d’échanges et d’interactions au cours du processus de création-communication. Troisièmement, elle interroge les effets de ce phénomène collectif complexe de manière à mieux comprendre les conditions de déploiement de la créativité contextualisée.En prenant pour objet d’étude l’expérience vécue d’acteurs en situation par le biais d’un dispositif pédagogique, nous avons convié une communauté d’apprenants à vivre une expérience de création collective immersive et originale qui, par sa nature engageante et déroutante, était susceptible de heurter les habitudes et le cadre traditionnel d’apprentissage. Nous avons émis l’hypothèse que la tension créative entraine la réorganisation constante de l’activité des groupes en influençant les « constructions médiatrices » puis, que la nature de ce contexte cristallise la cohésion et l’engagement des groupes impliqués. Par une analyse de l’activité-créativité (la créactivité) de groupe, et plus particulièrement par l’observation des actions conjointes, des rapports d’interactions et de l’implication des membres, cette étude postule que la créativité collective contextualisée participe à l’émergence de formes d’interactions. Puis, que le recours aux moyens médiateurs (aux artefacts, à la division du travail et aux règles d’interactions) s’effectue dans un mouvement constant de réorganisation de l’activité par dépassements successifs des contradictions, par la formation de noeuds de médiations. Les constructions médiatrices sont ainsi le reflet du processus de transformation du sens des interactions sociales au cours de l’activité
This thesis considers the effects caused by contextualized collective creativity, especially in small groups, based on a communicational approach by “mediational constructs". It has three main objectives. First, it wishes to clarify the concept of group creativity as a phenomenon (as discussed by Woodman, Sawyer and Griffin, 1993) and to propose its distinction from the method used by creativity groups (Demory, 1986; Aznar, 2011). Secondly, it seeks to clarify the forms of exchange and interactions during the communicative-creative process. Third, it investigates the effects of this complex collective phenomenon for a better understanding of contextualized creativity conditions and deployment.Using a pedagogical framework, we have invited a community of learners to experiment an immersive and original collective creation experience which was likely to upset habits and the traditional framework of learning by its engaging and confusing nature. We hypothesized that creative tension leads to the constant reorganization of group activity by influencing " mediational constructs " and that the nature of this context crystallizes the group cohesion and commitment. Through an analysis of group activity-creativity (creactivity), and more specifically by observing joint actions, interactions relationships and the involvement of members, this study postulates that contextualized collective creativity participates in the emergence of forms of interactions. Then, that the use of meditational means (artefacts, division of labor and rules of interactions) takes place in a constant movement of activity reorganization by overcoming contradictions by successive formation of “mediation nodes”. Thus, the mediational constructs represent a reflection of the transformation process of the social interactions meaning during the activity

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Giavarotti, Matheus Manzione. „Processos criativos colaborativos no Espaço Coringa: da criação de um grupo à criação em grupo“. Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4282.

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Made available in DSpace on 2016-04-26T18:10:50Z (GMT). No. of bitstreams: 1 Matheus Manzione Giavarotti.pdf: 4298796 bytes, checksum: 278b80d082276bf1c0c8f955d792f2d8 (MD5) Previous issue date: 2011-05-12
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The object of research of this work is comprised of collaborative creative processes developed by the group denominated Espaço Coringa, an art collective that worked for 11 years, from 1998 to 2009. Based on the group s documents and works, this research aims at observing the mechanisms that led to the formation of the group, understanding its ways of acting based on generalizations of its organizational methods, capturing the ways in which the group related to processes of capital valuation and the contemporary art system, systemizing the type of works produced, and which relationships were created with new media in the context of a collaborative production. In this research we seek ways to understand the collaborative creation processes and the very formation of this collective as part of a communicative process, with internal coherence and intentionality, in order to realize a poetic project. We pay special attention to the relationships between individuals, between them and collective processes as a whole, in order to identify which vectors condition these relationships. In our survey we realized that, from specific points of view, the group s collaborative creations offered possibilities of emancipation and increased awareness of the individuals involved, proposing concrete experiences of new forms of sociability. At times, from different theoretical points of view, these same actions appear as ways to undertake the collective work through the contemporary art system. Moreover, we establish here some possibilities of understanding the processes that produce works through collaboration. The methodology adopted consisted of bibliographic surveys, theoretical and epistemological reflections on the object of study, field surveys based on the observation and reading of the works and documents about the processes of that collective. The theoretical framework includes the process criticism of Cecília Almeida Salles, Michel Maffesoli s concept of tribes, Zygmunt Bauman and his discussion on community, Boaventura de Souza Santos and his reflections on social emancipation, Vilém Flusser s concepts of communication, speech, and dialog, Nicolas Bourriaud s relational aesthetics, Hakim Bey s concept of Autonomous Temporary Zone, and Anne Cauquelin and her reflections on the art system. Also, we make use of Julio Plaza s concept of intersemiotic translation, Edgar Morin and his thoughts on interactions, effervescence, and his reflections on culture and complexity, as well as the relationships between art, science, and cognition raised by Jorge Vieira de Albuquerque
O presente trabalho tem como objeto de pesquisa os processos criativos colaborativos desenvolvidos pelo grupo Espaço Coringa, coletivo de arte que atuou durante 11 anos, de 1998 a 2009, em São Paulo. A partir da leitura de documentos e obras do grupo, esta pesquisa tem como objetivo observar os mecanismos que levaram à sua formacão; compreender sua maneira de atuar, a partir de generalizações das suas formas organizativas; perceber de que formas ele se relacionou com os processos de valorização do capital e com o sistema da arte contemporânea; sistematizar o tipo de obras produzidas e quais as relações estabelecidas com as novas mídias, no contexto de uma produção colaborativa. Como problemática da pesquisa, buscar-se-ão formas de compreender os processos colaborativos de criação e a própria formação desse coletivo, como parte de um processo comunicacional, com coerência interna, intencionalidade e busca da realização de um projeto poético. Atentar-se-á para as relações entre os indivíduos e destes com os processos coletivos como um todo, identificando quais vetores condicionam essas relações. Percebeu-se durante a pesquisa que, sob determinados pontos de vista, as criações colaborativas do grupo apresentaram possibilidades de emancipação e conscientização dos indivíduos envolvidos, propondo experiências concretas de novas formas de sociabilidade. Algumas vezes, essas mesmas ações, observadas sob outras visões teóricas, apresentam-se como forma de cooptação do trabalho coletivo pelo sistema da arte contemporânea. Estabeleceram-se, ainda, algumas possibilidades de compreensão dos processos que produzem obras através da colaboração. A metodologia adotada consistiu em levantamentos bibliográficos, reflexões teóricas e epistemológicas sobre o objeto de estudo, pesquisa de campo a partir da observação e leitura de obras e documentos de processo do coletivo estudado. O quadro teórico inclui a crítica de processo, de Cecília Almeida Salles; o conceito de tribos, de Michel Maffesoli; Zygmunt Bauman e sua discussão sobre comunidade; Boaventura de Souza Santos e suas reflexões sobre emancipação social; os conceitos de comunicação, discurso e diálogo, de Vilém Flusser; a estética relacional, de Nicolas Bourriaud; o conceito de Zona Autônoma Temporária, de Hakim Bey; Anne Cauquelin e suas reflexões sobre o sistema de arte. Valeu-se, ainda, do conceito de tradução intersemiótica, de Julio Plaza; Edgar Morin e seu pensamento sobre interações e efervescência, e suas reflexões sobre cultura e complexidade, além das relações entre arte, ciência e cognição, levantadas por Jorge Vieira de Albuquerque

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Bücher zum Thema "Collective creative"

Bare elements: A collective approach to narrative nonfiction. Toronto: Life Rattle Press, 2010.

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The collective imagination: The creative spirit of free societies. Farnham: Ashgate, 2011.

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Meza, Antonio, illustrator, book designer, Hrsg. Generative collaboration: Releasing the creative power of collective intelligence. Scotts Valley, CA: Dilts Strategy Group, 2016.

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Domingues, José Maurício. Social creativity, collective subjectivity, and contemporary modernity. New York: St. Martin's Press, 2000.

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Fine, Nic. Fireworks: Creative approaches to conflict. Leicester: Youth Work Press in conjunction with The Leaveners, 1992.

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The Neal-Schuman index to performing and creative artists in collective biographies. New York: Neal-Schuman Publishers, 1991.

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Inc, That Patchwork Place, Hrsg. Creative quilt collection. Woodinville, Wash: That Patchwork Place, 2006.

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Martingale & Company., Hrsg. Creative quilt collection. Woodinville, WA: Martingale & Co., 2008.

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Hill, Wes. Speech Acts: Richard Grayson and Matt Mullican. Broadway: UTS ePRESS, 2017.

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Polis, Schutz Susan, und Blue Mountain Arts (Firm), Hrsg. The Language of creativity: A collection from the Blue Mountain Arts. Boulder, Colo: Blue Mountain Press, 1999.

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Buchteile zum Thema "Collective creative"

Mermikides, Alex. „Collective Creation and the “Creative Industries”“. In Collective Creation in Contemporary Performance, 51–70. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137331274_4.

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Hayashi, Arawana, und Ricardo Dutra Gonçalves. „Awareness-Based Collective Creativity“. In Routledge Handbook for Creative Futures, 325–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003020714-41.

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Feeney, Margaret. „Collective invention: a travelling artist's perspective.“ In Creative tourism: activating cultural resources and engaging creative travellers, 38–45. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0005.

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Abstract People travel because they are searching. They are not content to download experience through mediated internet platforms, or to find themselves curated into a vat of preserved content, steeped in academic salt. Travelling is free of the dreary imperatives of everyday life; we step into the world to enlarge our frame of reference, not to be poked into another grid of curated meaning. Tourist hotspots everywhere have been heating up as fast as the climate, and unique cultural sensibilities and practices are perishing in the glare of the demands of the modern tourist. The researcher uses The Water Systems and the Stencil project as case studies in relation to the elements of effective workshop creation.

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Sandford, Robert. „The collective unconscious“. In A Jungian Approach to Engaging Our Creative Nature, 73–80. 1 Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429061431-6.

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Wang, Jing, Umer Farooq und John M. Carroll. „Creative Collective Efficacy in Scientific Communities“. In Proceedings of COOP 2010, 331–51. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-211-7_18.

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Mckinlay, Alan. „Making ‘The Bits Between the Adverts’: Management, Accounting, Collective Bargaining and Work in UK Commercial Television, 1979–2005“. In Creative Labour, 174–92. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12173-8_9.

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Väljataga, Terje, und Sebastian H. D. Fiedler. „Creative Re-instrumentation of Collective Learning Activity“. In Lecture Notes in Computer Science, 300–309. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-43454-3_31.

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Magnat, Virginie. „Women, Transmission, and Creative Agency in the Grotowski Diaspora“. In Women, Collective Creation, and Devised Performance, 221–35. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55013-2_14.

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Kulkarni, Parag. „Co-operative and Collective Learning for Creative ML“. In Intelligent Systems Reference Library, 119–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55312-2_6.

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Ando, Hideyuki, Dominique Chen, Junji Watanabe und Kyosuke Sakakura. „Information Technology Creative Discussion Method for Collective Wellbeing“. In Lecture Notes in Computer Science, 197–207. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78361-7_15.

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Konferenzberichte zum Thema "Collective creative"

Nakakoji, Kumiyo, Yasuhiro Yamamoto und Atsushi Aoki. „Interaction design as a collective creative process“. In the fourth conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/581710.581727.

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Goessling, Kristen. „Creating the Conditions for Meaning-Making and Collective Power: Creative Participatory Research Practices“. In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1891606.

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Siangliulue, Pao. „Intelligent Systems to Support Large-Scale Collective Creative Idea Generation“. In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2764764.

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Nurabdiansyah, Irfan Arifin und Prusdianto. „Creative Community Branding in Makassar (Creating a collective identity Jamaah Kreatif Sektor Selatan for creative communities in the Southern Region of Makassar)“. In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.6.

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Rotari, Dorina. „Anatol Moraru: creative portrait“. In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.07.

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This article explores the multifaceted activity of the writer, teacher, publicist and literary critic Anatol Moraru. Holder of the "Alecu Russo" State University in Bălți, member of the Union of Writers from the Republic of Moldova and from Romania, Anatol Moraru stands out for his extensive literary, scientific and didactic activity, publishing works on the creation of Ion Druță and Dumitru Matcovschi, a volume of studies, articles, chronicles, as well as more than 30 scientific articles in collective volumes and anthologies. In contemporary Romanian literature, the writer imposes himself through an uninhibited prose about the tragicomic condition of the Bessarabian, through an ingenious, provocative and persuasive writing, fueled by bookish and real experiences, which shows an exuberance of expression and "a pleasure of speaking".

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Jeon, Jeong Ok. „Exploring Media Art Curating in Indonesia: A Case Study of a Locally-grown Curator Collective“. In 1st International Conference on Intermedia Arts and Creative. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008527100880100.

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Chun Wai, Wilson Yeung, und Estefanía Salas Llopis. „THE SPACE BETWEEN US“. In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.

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Veschunova, Ksenia S. „INFLUENCE OF COMPETITION EVENTS ON THE SCHOOLCHEAD’S CREATIVE DEVELOPMENT“. In Treshnikov readings – 2021 Modern geographical global picture and technology of geographic education. Ulyanovsk State Pedagogical University named after I. N. Ulyanov, 2021. http://dx.doi.org/10.33065/978-5-907216-08-2-2021-103-104.

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The article discusses the impact of competitive events on creative development. Big changes are taking place in the creative development associated with the transition from collective creative activity to the personal development of the student. And this creates the prerequisites for changing competition events.

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Sviridova, Nadezhda V., und Natalya S. Dmitrieva. „EARLY INVOLVEMENT OF CHILDREN TO COLLECTIVE CREATIVE ACTIVITIES IN THE CONTEXT OF PREPARATION FOR SCHOOL“. In All-Russian Conference with International Participation "Education, Social Mobility, and Human Development: to the 90th Anniversary of Prof. L.G. Borisova". Novosibirsk State University, 2022. http://dx.doi.org/10.25205/978-5-4437-1383-0-226-233.

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Collective creative activity is important for teenagers. Currently, teachers use the CTD technology in working with young children. The authors of the article analyze the reasons and significance of using the technology of collective creative activity in modern preschool education.

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Cheung-Nainby, Priscilla, John Lee, BingXin Zi und Astury Gardin. „A Creative Ontological Analysis of Collective Imagery during Co - Design for Service Innovation“. In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.407.

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Berichte der Organisationen zum Thema "Collective creative"

Corona Rodríguez, JM. Transmedia New Literacies and collective participatory skills. Strategies for creative production and leisure management of Star Wars fans. Revista Latina de Comunicación Social, Februar 2019. http://dx.doi.org/10.4185/rlcs-2019-1339en.

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Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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Bland, Gary, Lucrecia Peinado und Christin Stewart. Innovations for Improving Access to Quality Health Care: The Prospects for Municipal Health Insurance in Guatemala. RTI Press, Dezember 2017. http://dx.doi.org/10.3768/rtipress.2017.pb.0016.1712.

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Municipal insurance–a collective compact in which municipal government is the lead actor in designing, delivering, and supervising a health care financing arrangement—is considered by some Guatemalans as a potential new avenue for improving financial protection against rising costs and improved access to quality health care. This brief presents a political economy analysis of the prospects for the adoption of municipal insurance in Guatemala. Municipal insurance has so far been tried only once, in 2015, by the large suburban municipality of Villa Nueva. Drawing from the Villa Nueva experience, based on interviews with nearly 30 key informants, this brief examines the potential obstacles to municipal insurance reform as well as leading factors favoring its introduction. Consistent health ministry support and equity concerns are potential limitations, for example, while decentralization and the recent emergence of creative insurance products are likely to be supportive. This brief then concludes with consideration of the policy implications of such a reform. We also offer a series of policy recommendations for policymakers and practitioners who may be looking to implement municipal insurance reform.

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Taylor, Joe, Peter Taylor und Louise Clark. Covid Collective Learning Report. Institute of Development Studies, März 2024. http://dx.doi.org/10.19088/cc.2024.001.

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This report provides an overview the Covid Collective research platform, how it was operationalised, and the learning which emerged from the three-year programme. The foundation of the Covid Collective’s theory of change was the network and relationships that were established and developed to harness collaboration and sharing of knowledge across a platform of global research partners. We acknowledged the critical role knowledge sharing, learning and engagement played in creating a culture that could enable and catalyse evidence-based, transformative action in response to Covid-19. The network that was developed in forming the Covid Collective could then facilitate comparative learning and collective action, and generate new insights and knowledge on the factors that support more or less effective responses to Covid-19 and help to build resilience to address future global development challenges.

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O'Connell, Lesley D. Collective Bargaining Systems in Six Latin American Countries: Degrees of Autonomy and Decentralization: Argentina, Brazil, Chile, Mexico, Peru, and Uruguay. Inter-American Development Bank, Juni 1999. http://dx.doi.org/10.18235/0010944.

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The transition to a market driven development strategy in Latin America for more than a decade has redefined business strategies and reshaped the state's traditional role as guarantor of employment, stability, and protection. These changes, plus the move to create more flexible labor markets in some countries, have lead to the elimination or reduction of legislated employment protections and benefits, creating space for unions to enlarge their role in collective bargaining.

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Polle, J. Creating a Collection of Microalgae for use in Biofuels Research. Fort Belvoir, VA: Defense Technical Information Center, Juni 2008. http://dx.doi.org/10.21236/ada484623.

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Ahmed AlGarf, Yasmine. Harnessing the Power of the Collective: The Women’s Handicrafts Production Cooperative in Aswan, Egypt. Oxfam IBIS, August 2021. http://dx.doi.org/10.21201/2021.7857.

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The Women’s Handicrafts Production Cooperative is a success story that has transformed the lives of its members, who had been finding it hard to obtain employment. They are now focused on creating their own enterprise. Started in 2018, today the cooperative’s membership has expanded tenfold and created employment opportunities by using the principles of social solidarity economy and collective business models. The Youth Participation and Employment (YPE) project in Egypt, developed in partnership with the Better Life Association for Community Development (BLACD), provided technical training to the cooperative in handicrafts production, as well as life skills training, to empower the workers to continue despite all the societal pressure for them to give up. Assistance from BLACD came in when it was needed. Particularly during the COVID-19 crisis, with the tourism market shut down, BLACD has provided crucial technical advice and support, supporting the cooperative to brainstorm and identify several parallel income-generating activities. This case study contains some testimonies from members of the cooperative on how their collective strength was harnessed to create employment and income.

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Roll, Michael, Marisol Romero Magallán, Andrea Ramírez, Flávia Guerra, Alejandra Ramos-Galvez, Simone Sandholz, Mariana Campos-Sánchez, Gorka Zubicaray, Óscar Jair Villasís-Escobedo und Ana Iris Enríquez-Alcaraz. TUC Urban Lab Profile: Naucalpan, Mexico. United Nations University - Institute for Environment and Human Security (UNU-EHS), März 2024. http://dx.doi.org/10.53324/tmew2903.

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After almost two years in operation, the challenges and key achievements of the TUC Urban Lab established in Naucalpan, Mexico, provide valuable lessons for sustaining ongoing activities, accelerating broader transformations and guiding similar efforts elsewhere: 1. RECOGNIZING THE CHALLENGES AND BENEFITS OF UL MEMBERSHIP FLUCTUATION: If a core group of UL members exists, changes in UL membership are to be expected and are often beneficial. Such change can already be planned for as soon as the UL enters a new phase, for example when moving from planning to implementation of concrete action. UL facilitators should support the integration of new members to maximize the benefit of their new perspectives and contributions for ongoing UL work. 2. ADDRESSING LIMITED REPRESENTATION OF RESIDENTS AND THE PRIVATE SECTOR: Participation processes need a sound methodology and creative thinking. Even with the best of intentions and adequate facilitation, certain groups or sectors are particularly difficult to involve in the ULs. This may be because some UL members have doubts and see potential risks associated with the participation of others, or because the other actors see no benefits or are just not interested. Going forward, the UL Naucalpan will consider alternative, innovative and locally specific approaches and formats to encourage participation and meaningful engagement by these stakeholders. 3. BUILDING ON DIVERSE PERSPECTIVES TO FOSTER NEW NETWORKS AND MUTUAL TRUST: By providing a setting for the exchange and constructive discussion of diverse perspectives, knowledge, interests and opinions, the UL approach fosters the emergence of new networks as well as mutual trust and cohesion. This is particularly evident between civil society and government in an otherwise ‘low-trust in government’ environment and provides a strong basis for collective climate action. 4. NAVIGATING THE PARTICIPATION OF AND THE DEPENDENCE ON GOVERNMENT AUTHORITIES: While strong government authorities’ participation and support are critical for ULs, being too dependent on them is a risk for UL neutrality, for constructive discussions and for its potential transformative impact. As an opportunity for UL operation, sustainability and the scaling of experimental projects, government participation and support therefore must be carefully balanced with that of other sectors.

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Rossol, Evelyn, Margaret Busche und Chanjuan Chen. Upcycle Guidebook: Creating a Sustainable Women�s Wear Collection from Men�s Dress Shirts. Ames (Iowa): Iowa State University. Library, Januar 2019. http://dx.doi.org/10.31274/itaa.8855.

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena und Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, Dezember 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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