Thematische Bibliographien / Creative thinking

Auswahl der wissenschaftlichen Literatur zum Thema „Creative thinking“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 3. März 2023

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Zeitschriftenartikel zum Thema "Creative thinking":

FINDLAY, C. „Thinking creatively about creative thinking“. Journal of Social and Biological Systems 11, Nr. 1 (Januar 1988): 165–75. http://dx.doi.org/10.1016/0140-1750(88)90059-0.

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Bacanlı, Hasan, Mehmet Ali Dombaycı, Metin Demir und Sinem Tarhan. „Quadruple Thinking: Creative Thinking“. Procedia - Social and Behavioral Sciences 12 (2011): 536–44. http://dx.doi.org/10.1016/j.sbspro.2011.02.065.

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Smith, Janet. „Creative thinking“. Nursing Standard 21, Nr. 39 (06.06.2007): 24–25. http://dx.doi.org/10.7748/ns.21.39.24.s29.

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Dinsdale, Paul. „Creative thinking“. Nursing Standard 16, Nr. 10 (21.11.2001): 12. http://dx.doi.org/10.7748/ns.16.10.12.s30.

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LOW, ALBERT. „Creative Thinking“. World Futures 62, Nr. 6 (September 2006): 455–63. http://dx.doi.org/10.1080/02604020600798635.

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Robinson, Andrew. „Creative thinking“. Physics World 20, Nr. 12 (Dezember 2007): 41–42. http://dx.doi.org/10.1088/2058-7058/20/12/34.

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Ghosh, S. „Creative thinking“. IEEE Circuits and Devices Magazine 20, Nr. 1 (Januar 2004): 52–62. http://dx.doi.org/10.1109/mcd.2004.1263408.

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Johnston, David L. „Creative Thinking“. American Journal of Islam and Society 23, Nr. 1 (01.01.2006): 133–35. http://dx.doi.org/10.35632/ajis.v23i1.1658.

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Growing out of a course that the authors have taught jointly since 1996 atthe International Islamic University Malaysia (“Creative Thinking andProblem Solving”), this book is designed for use as an undergraduate textbookon these issues from an Islamic viewpoint. Since Muslims generally deplore their own community’s lack of creativity and desperately need toreverse their technological and scientific dependence on other countries, theauthors seek to present a realistic strategy to help them regain the innovativespirit that characterized classical Islamic civilization. Drawing on cognitivepsychology and related disciplines in western academia, they begin with theassumption that creativity is a learned skill, rather than the personal endowmentof an elite corps of humanity. The book then develops their secondassumption: Islamic values and perspectives can be enriched through a dialoguewith western social sciences.The first part is devoted to Islamic civilization’s contribution to humancivilization: tafakkur and other Qur’anic words calling for people to thinkcreatively (chapter 1); applying secular “thinking styles” literature to theQur’an, including the inquisitive, objective, positive, hypothetical, rational,reflective/contemplative, visual, metaphorical, analogical, emotional, perceptual,conceptual, intuitive, scientific, and wishful thinking styles (chapter2); analyzing the concept of ijtihad and its vocation to constantly adaptIslamic law to changing circumstances and find creative solutions to persistentsocioeconomic and political challenges (chapter 3); and summarizingMuslim contributions to science, philosophy, and medicine (chapter 4) ...

Berman, Bruce. „Creative thinking“. Nature Biotechnology 23, Nr. 4 (April 2005): 421. http://dx.doi.org/10.1038/nbt0405-421.

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Lin, Ruilin. „Creative Thinking for Picture Book Creation“. IERI Procedia 2 (2012): 30–35. http://dx.doi.org/10.1016/j.ieri.2012.06.047.

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Dissertationen zum Thema "Creative thinking":

Sirbiladze, Karina. „Scamper Technique for Creative Thinking“. Thesis, Фінансова рада України, 2017. https://er.knutd.edu.ua/handle/123456789/7479.

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Richards, Tanya Alexandra. „Creative Thinking: Through Vibrant Materials“. Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25944.

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Creative Thinking: Through Vibrant Materials investigates how to bridge the gap between cognitive science, humanities and creative thinking through materials. Research explores creativity as new knowledge, guided by the power of haptic surfaces, searching for something new through repetition. The poised question is: What happens within a moment of losing a sense of self in art-making? The hypothesis is that concepts of philosophy and the function of art can create specific aesthetic figures of colour, line, texture, and forms through materiality. The tacit skills play a crucial role for the artist to know when to resist and surrender to the materials. Bridging the gap between philosophy and practice allows aesthetic figures to emerge effortlessly, taking the path of least resistance. These figures are not of beauty per se; they translate thoughts without images, although not as conventional shapes known in advance, but instead as blocks of haptic sensation. This enquiry formulated a research problem of 'thought without image' – thinking that goes beyond recognition and originates in practice. The study has been to understand and create connections between Gilles Deleuze and Felix Guattari's concepts thoughts without images, Maurice Merleau-Ponty's phenomenology, John Dewey's aesthetics, and the Taoist concept of Wu Wei and its connections to Mihaly Csikszentmihalyi's mindset of flow. The overall study focuses on how Csikszentmihalyi states of flow can condition creative thinking. The research illustrates that creative thinking is shaped by social, cultural, and philosophical influences. It also shows that the eyes are neither cameras nor windows and instead interpret meaning based on past experiences.

Stilwell, Martinique. „Thinking up a hurricane“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/14605.

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Pringle, Andrew J. „Creative thinking : a mode shifting hypothesis“. Thesis, University of Surrey, 2015. http://epubs.surrey.ac.uk/807126/.

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Recent accounts of creative-cognition propose that creativity requires the use of different modes of thought. One mode supports the generation of ideas while a second mode of thought is conducive to evaluating ideas (Gabora & Ranjan, 2013; Howard-Jones, 2002; Kaufman, 2011). It has been suggested that creative individuals may be characterized by being good at shifting between different modes of thinking (Howard-Jones, 2002; Kaufman, 2011; Vartanian, 2009). Modern definitions of creativity emphasize that for a product to be deemed ‘creative’, it must exhibit both novelty and utility (Cropley & Kaufman’s, 2011; Plucker, Beghetto & Dow, 2004). Shifting could be an integral facet of creative-cognition that enables one to produce a creative product possessing these attributes (Gabora & Ranjan, 2013). Prior research has suggested a link between shifting and creativity. However, it has framed shifting in a rather narrow way and examined the link using paradigms that are far removed from the theorized role of shifting in the creative process (Gabora & Ranjan, 2013). The present thesis used an experimental paradigm, a novel self-report measure of shifting and a ‘think-aloud’ protocol to examine multiple facets of shifting and the relationship of these facets to measures of creativity. It revealed that the relationship between shifting and creativity is more complex than previous research suggests, differing across contexts and different creative domains. Different facets of shifting appear to be related to different types of creativity, with metacognitive awareness of shifting distinct from competence shifting and affective processes appearing to play an important role in shifting in the domain of garden design. Based on these findings, it is proposed that future research should take into account the multifaceted nature of shifting. Doing so could significantly aid progress in understanding the nature of the relationship between creativity and shifting between different modes of thought.

Taylor, Linda D. „Creative thinking and worldviews in Romania /“. abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3311919.

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Thesis (Ph. D.)--University of Nevada, Reno, 2008.
"May 2008." Includes bibliographical references (leaves 76-83). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

Kilgour, A. Mark. „The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity“. The University of Waikato, 2007. http://hdl.handle.net/10289/2566.

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As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.

Stephens, Cara. „Stories: Strange Men and Thinking Girls“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4833/.

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What is the boundary between fiction and nonfiction? What happens if the line between the two is crossed? Can we possibly recall events in our lives exactly as they happened? In creative nonfiction, such as memoir, the audience expects the writer to recall things exactly as they happened, with no embellishments, re-ordering, additions, or subtractions. It seems as if authors of creative nonfiction are bound to be questioned about events, nitpicked on details, challenged on memories, and accused of portraying real-life people the "wrong" way. Yet when the writer creates fiction, it seems to go the other way: readers like to think there are parallels between an author and her stories. Readers congratulate themselves for finding the similarities between the two, and instead of focusing on the crafted story at hand, try to search out which parts are "true" and which are embellished. Does any of this matter, though; don't all stories tell a kind of truth? We have an insatiable urge to classify, to "know" the truth, but truth isn't merely a recollection of cold facts; likewise, a story isn't any less true if it's fiction.

De, la Cruz-Bechtel Rose Marie. „Unlocking creativity in the classroom“. To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Beresnevičius, Gediminas. „EDUCATIONAL DIMENSIONS OF CREATIVITY AND CREATIVE THINKING“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100519_103153-72881.

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Educational dimensions of creativity and creative thinking are researched in the dissertation on theoretical and empirical levels. The research shows that creativity (process and its result) is affected by the following factors: motivation of the author, entirety of personal features and character traits, abilities, thinking, scope of thinking inertia, special and general knowledge, reconstructive and constructive imagination, intuition, author’s behaviour, emotions, physiological and psychological state, social and physical environment. Dynamic and component models of creativity process, prepared by the author, are presented in the dissertation. 655 research participants participated in the empirical research: 601 5th-11th form school learners and 54 teachers. 2 subtests by E. E. Туник (2002) assessing creativity parameters and a questionnaire designed by the author were administered to the research participants. The change of creative thinking was determined in its ontogenesis (from 11 to 62 years of age). Peculiarities of learner creative thinking were revealed (originality, flexibility of thinking, abundance of ideas) in groups according to age, gender, birth order, learning progress and place of residence. The research shows that originality of creative thinking reaches its peak at the age of 18, afterwards it decreases during adulthood. (p=0.000). The existence of positive direct statistically significant relationship between all parameters of creative thinking and... [to full text]
Disertacijoje teoriniu ir empiriniu lygmenimis yra tyrinėjamos kūrybiškumo bei kūrybinio mąstymo edukacinės dimensijos. Tyrimas parodė, kad kūrybos procesui ir jo rezultatui turi įtakos tokie veiksniai: kūrėjo motyvacija, asmenybės savybių ir charakterio bruožų visuma, gebėjimai, mąstymas, atmintis, mąstymo inercijos dydis, specialiosios ir bendrosios žinios, atkuriamoji ir kuriamoji vaizduotė, intuicija, kuriančiojo elgesys, emocijos, fiziologinė ir psichologinė būsena, socialinė ir fizinė aplinka. Disertacijoje pateikiami autoriaus parengti dinaminis ir komponentinis kūrybos proceso modeliai. Empiriniame tyrime dalyvavo 655 tiriamieji: 601 V–XI klasių mokiniai ir 54 mokytojai. Jiems buvo pateikta autoriaus sudaryta anketa bei du E. E. Туник (2002) kūrybiškumo parametrų įvertinimo subtestai. Nustatyta kūrybinio mąstymo kaita ontogenezėje (nuo 11 metų iki 62 metų amžiaus). Atskleisti mokinių kūrybinio mąstymo ypatumai (originalumas, mąstymo lankstumas, idėjų gausa) grupėse pagal amžių, lytį, kelintas vaikas šeimoje, pažangumą ir gyvenamąją vietą. Tyrimas parodė, kad kūrybinio mąstymo originalumas pasiekia maksimumą 18 metų amžiuje, o po to suaugusiojo amžiuje krinta (p=0,000). Nustatyta, kad egzistuoja teigiamas tiesioginis statistiškai reikšmingas ryšys tarp visų kūrybinio mąstymo parametrų ir asmenybės domėjimasis mokslu (p<0,01) bei menu (p<0,05). Nustatyti statistiškai reikšmingi ryšiai tarp kūrybinio mąstymo parametrų ir savišvietos poreikių. Tyrimas parodė, kad kuo... [toliau žr. visą tekstą]

Navarro, Edwina Portocarrero. „Inside/out : mirrors for reflective, creative thinking“. Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69810.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.
Cataloged from PDF version of thesis. Page 99 blank.
Includes bibliographical references (p. 93-98).
In this document I present three tools for reflective, creative thinking: Pillow-Talk, the NeverEnding Drawing Machine and Calliope. These tools make use of the "distorted mirror" metaphor for self-reflection. They are designed to debunk myths of creativity as an acquired faculty and instead promote creative apperception and flexible thinking. Pillow-Talk is designed to prime dream recall and facilitate capture through voice recording. Considering the dream an aesthetic experience we all undertake, where the dreamer is free to test knowledge liberated from physical and moral constraints, its aim is to promote flexibility in levels of thought. The NeverEnding Drawing Machine and Calliope endorse flexibility in vehicles of thought through co-creative and collaborative play. One can incorporate any object found in the environment as a tool or material, thus making contextualized and personalized creations. They promote cross-cultural and cross-generational co-creation as the echo from which to recenter perception.
by Edwina Portocarrero.
S.M.

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Bücher zum Thema "Creative thinking":

G, Bennett John. Creative thinking. Santa Fe, N.M: Bennett Books, 1998.

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G, Bennett John. Creative thinking. 4. Aufl. Charles Town, W. Va: Claymont Communications, 1989.

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Ohio. Dept. of Education und Ohio. Division of Special Education, Hrsg. Creative-thinking ability. Columbus: Ohio Dept. of Education, 1992.

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Runco, Mark A. Divergent thinking. Norwood, N.J: Ablex Pub. Corp., 1991.

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Shone, R. Creative visualization. London: Aquarian/Thorsons, 1993.

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Fabian, John. Creative thinking & problem solving. Chelsea, Mich: Lewis Publishers, 1990.

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Ding, Min. Logical Creative Thinking Methods. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003017752.

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Rawlinson, J. Geoffrey. Creative thinking and brainstorming. Aldershot: Gower, 1996.

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King, Lloyd. Test your creative thinking. London: Kogan Page, 2003.

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Nazareth, J. Creative thinking in warfare. New Delhi: Lancer, 2008.

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Buchteile zum Thema "Creative thinking":

Hughes, Vera. „Creative Thinking“. In People Skills, 140–50. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-12527-2_12.

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Traut-Mattausch, Eva, Rudolf Kerschreiter und Christoph Burkhardt. „Creative Thinking“. In Management for Professionals, 249–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44214-2_15.

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Holt, Knut. „Creative thinking“. In Market Oriented Product Innovation, 46–72. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4757-5720-0_4.

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Halpern, Diane F., und Dana S. Dunn. „Creative Thinking“. In Thought and Knowledge, 319–49. 6. Aufl. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003025412-10.

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Stanley, Todd. „Creative Thinking“. In Enrichment Activities for Gifted Students, 109–26. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003234982-8.

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Corbitt, Robert, und Cory Bronger. „Creative Thinking“. In The Four Philosophies of Lean, 25–38. New York: Productivity Press, 2021. http://dx.doi.org/10.4324/9781003194781-3.

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Stanley, Todd. „Creative Thinking“. In A Teacher's Toolbox for Gifted Education, 106–12. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003238577-13.

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Chen, Chaomei. „Creative Thinking“. In Turning Points, 21–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19160-2_2.

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Suematsu, Chihiro. „Logical Thinking/Creative Thinking“. In Management for Professionals, 239–53. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06889-3_9.

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Miller, Blair, Jonathan Vehar, Roger Firestien und Robert P. Eckert. „Creative Thinking Training“. In Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship, 514–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-15347-6_11.

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Konferenzberichte zum Thema "Creative thinking":

Dietz, Paul, M. K. Haley, Roger Malina, Ramesh Raskar und Jennifer (Ginger) Alford. „Cultivating creative thinking“. In ACM SIGGRAPH 2014 Panels. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614208.2615540.

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Cross, Nigel. „Creative thinking in design“. In the 2007 Symposium. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1496630.1496632.

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Kohls, Christian. „Patterns for creative thinking“. In EuroPLoP 2015: 20th European Conference on Pattern Languages of Programs. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2855321.2855352.

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Susanti, Elsa, und Hartono. „Mathematical Critical Thinking and Creative Thinking Skills“. In the 2019 International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3348400.3348408.

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Freire, Karine, Chiara Del Gaudio und Carlo Franzato. „Strategies by design towards creative ecosystems of social innovation.“ In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3289.

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This paper presents a way to organize social innovation processes, since the identification of opportunities to the diffusion of solutions, that is based on the ecosystemic perspective and on the design method. The ecosystemic perspective is crux in order to generate the innovation necessary to reach systemic changes in today’s unsustainable ways of life. According to the systemic thinking, the understanding organization processes of complex physical, biological and social phenomena, implies focusing on the network that connects the parts of a system, rather than to the single parts. Then, it implies paying a special attention to the network that connects the various systems and the environment (Capra, 1996). We are especially interested in creative ecosystems, that is, complex and interactive networks of social organizations and individuals, whose multiple and dynamic connections activate creative processes for the transformation of the world. Design is one of these creative processes. Actually, it can be defined as a creative process that aims at the development of sociotechnical for the transformation of the world. Towards sustainability, it is necessary that this transformation process both preserves and constantly creates favorable conditions for further future transformations. We adopt the strategic design approach since strategy is necessary to act within ecosystems. Morin (2008) recognizes that the ecosystems are instable and that such instability demands strategy. Moreover, the instability is not an obstacle for the action, vice-versa it is a necessary resource to assure the dynamics that allows the possibility of acting. In this sense, strategic design is proper for facing not only the regular, the evident and the possible, but also the unpredictable, the fortuity, the drifting and the mistake. From this basis, the paper tackles the literature gap related to the long-term sustainability of social innovations. Actually, it is still necessary to understand how to feed, scale and spread them, and to develop strategies in this perspective. Thus, from an ecosystemic perspective, the paper aims at discussing the contribution of strategic design to the developing processes of social innovation through a review of design, management and sociology theories.DOI: http://dx.doi.org/10.4995/IFDP.2016.3289

Blackwell, A. „Computational thinking and creative practice“. In 2012 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC 2012). IEEE, 2012. http://dx.doi.org/10.1109/vlhcc.2012.6344467.

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„KNOWLEDGE MAPPING FOR CREATIVE THINKING“. In 19th International Conference on Cognition and Exploratory Learning in the Digital Age (CELDA 2022). IADIS Press, 2022. http://dx.doi.org/10.33965/celda2022_202207l025.

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Tristantie, Nining. „Creative Thinking in Fashion Deconstruction“. In Proceedings of the 2nd Annual Conference of Engineering and Implementation on Vocational Education (ACEIVE 2018), 3rd November 2018, North Sumatra, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.3-11-2018.2285747.

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BILA, Irina. „TECHNOLOGY OF CREATIVE THINKING DEVELOPMENT“. In Happiness And Contemporary Society : Conference Proceedings Volume. SPOLOM, 2021. http://dx.doi.org/10.31108/7.2021.5.

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The article presents the content of the technology of development of positive thinking, optimism, which has a diagnostic, motivational, informational, educational, developmental, resource, regulatory, prognostic function. Keywords: positive thinking, optimism, technology.

Ng, Annie W. Y., und Chung-Yee Lee. „Assessment of Creative Thinking of Hong Kong Undergraduate Students Using the Torrance Tests of Creative Thinking“. In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9051.

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Creativity has been a key graduate attribute and transferrable skill for the universities nowadays. A better understanding of freshmen students’ level of creativity thinking facilitates the cultivation of the ways for nurturing the development of creativity in students throughout their university education studies. The purpose of this study was to investigate creative thinking abilities of first-year undergraduates in Hong Kong using the Torrance Tests of Creativity Thinking (TTCT) – a commonly known assessment for creativity. A total of 492 first-year undergraduates at a university in Hong Kong were asked to complete TTCT Figural Form consisting of picture construction, picture completion and lines activities. Generally, the creative potential of Hong Kong undergraduates was well above the average. The students demonstrated their abilities in generation of a number of relevant ideas (fluency), producing novel responses (originality), abstract thinking (abstractness of titles), and open-minded thinking (premature closure). They exhibited creative strength of, for example, flexible imagination, thinking with senses, and thinking beyond boundaries. However, students’ elaborative thinking, metaphorical-thinking and sense of humor had a lot of room for improvement. Based on the assessment results, some implications on the possible institutional strategies for nurturing creativity among students during university education were discussed.

Berichte der Organisationen zum Thema "Creative thinking":

Allen, Charles D. Creative Thinking for Senior Leaders: An Essay on Creative Thinking for Military Professionals. Fort Belvoir, VA: Defense Technical Information Center, Mai 2012. http://dx.doi.org/10.21236/ada595111.

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Gouker, Brian. Creative Thinking for Strategic Leaders. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada416589.

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Allen, Charles D. Creative Thinking for Individuals and Teams. An Essay on Creative Thinking for Military Professionals. Fort Belvoir, VA: Defense Technical Information Center, Januar 2009. http://dx.doi.org/10.21236/ada511957.

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Jussel, Paul C. In or Out of the Box: A Leader's Creative Thinking. Fort Belvoir, VA: Defense Technical Information Center, April 2000. http://dx.doi.org/10.21236/ada378262.

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Chae, May. Stimulating Creative Thinking: Project Based Learning to Design Fashionable Adaptive Clothing. Ames (Iowa): Iowa State University. Library, Januar 2019. http://dx.doi.org/10.31274/itaa.8254.

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Cho, Seunghye. Creative Design Thinking Process: Fashion Is Cyclical Then, Now, and Future. Ames (Iowa): Iowa State University. Library, Januar 2019. http://dx.doi.org/10.31274/itaa.8310.

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Minson, Valrie, Laura I. Spears, Adrian Del Monte, Margaret Portillo, Jason Meneely, Sara Gonzalez und Jean Bossart. Library Impact Research Report: Facilitating Innovative Research, Creative Thinking, and Problem Solving. Association of Research Libraries, September 2022. http://dx.doi.org/10.29242/report.uflorida2022.

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As part of ARL’s Research Library Impact Framework initiative, the Marston Science Library (MSL) of the University of Florida (UF) George A. Smathers Libraries partnered with the UF Department of Interior Design (IND) to explore how research libraries facilitate innovation, creativity, and problem-solving competencies among their patrons. The MSL-IND team explored a three-tiered hypothesis that included: (1) students’ use of library spaces can contribute to building knowledge and practical applications for library space renovations; (2) student perceptions of space desirability as measured by the Place-based Semantic Differential can be used to indicate gaps in the library space facilitation of creativity; and (3) the creative thought process requires spaces that are diverse, flexible, and under a certain amount of student control. The research team developed a mixed-method study that included a spatial analysis, a survey utilizing an adjective checklist, and several focus groups designed to validate the adjective checklist. The research team analysis of the resulting data identified recommendations related to creating a sense of place, solving for the group by addressing the individual, offering a palette of posture, increasing biophilia, and offering choice and control.

Nezhyva, Liudmyla L., Svitlana P. Palamar und Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4415.

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The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work, the relevance of use of AR to modern educational challenges, and also demonstrated the possibility of immersion into the space of artistic creation and activation of students’ imagination with the help of AR applications. The article demonstrates the possibilities of use AR-technology for the development of emotional intelligence and creative thinking, solving educational tasks by setting up an active dialogue with literary heroes. The basic stages of the application of AR technologies in the literary reading lessons in accordance with the opportunities of the electronic resource are described: involvement; interaction; listening, reading and audition; research; creative work; evaluation. It is confirmed that in the process of using augmented reality technology during the reading lessons, the qualitative changes in the process of formation of the reader’s culture of the students of experimental classes appears, as well as the increase of motivation, development of emotional intelligence and creative thinking.

Imms, Wesley, und Marian Mahat. Innovative Learning Environments and Teacher Change: Final Research Findings. University of Melbourne, November 2022. http://dx.doi.org/10.46580/124366.

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At the beginning of ILETC a clear mandate existed in government and academic conversations for these ‘innovative learning environments (ILEs) to have a primary aim of fostering students creative and critical thinking, and communicative and collaborative practices; this often was embedded in ‘21st Century Learning’ ambitions. There existed, however, a worrying paucity of quality research to act as a baseline for understanding this phenomenon. For this reason, ILETC adopted an exploratory design in seeking to document correlation between ‘good’ teacher use of ILEs and high levels of student deep learning.

Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, Februar 2022. http://dx.doi.org/10.51163/creative-gen009.

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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.